Hostage film review

certificate_15

HOSTAGE

Apart from the fact that early on Jeff Talley (Bruce Willis) states, "No one dies today," which in a Willis movie is highly unlikely (and inevitably untrue), the opening of Hostage offers some promise. The striking title sequence is followed by a decent enough set up. Talley, a ten year SWAT veteran and seven year hostage negotiator, has moved to a more sedate rural post after his last negotiating assignment went wrong. But when three dissolute youngsters invade the home of local wealthy accountant Walter Smith (Kevin Pollack), holding him and his two kids Jennifer (Michelle Smith) and Tommy (Jimmy Bennett) hostage, Talley finds he's unable to escape his past and is forced to the forefront of negotiations.

Where Hostage loses its way though is, like many films of this ilk, it disregards the 'less is more' approach, preferring instead to layer twist upon convoluted twist, with the result that 'more is less.' A sub plot involving another group of more organsied villains who just happen to be after something in Smith's house at the same time, is not only unconvincing, but unnecessary. What might have been a perfectly serviceable thriller ends up becoming a bloated, ineffective melodrama.

The presence of Willis was once enough to guarantee an audience, but he's played this role too many times to generate much enthusiasm any more. The tough talking renegade authority figure is one Willis has honed over the years, but Talley offers nothing new to the performance. The presence of Willis and Demi Moore's daughter Rumer Willis in the role of Talley's daughter suggests Bruce is more inclined to indulge himself these days than challenge himself.

Hostage's reluctance to rein itself in is never better exemplified than in one of the final scenes when one of the young robbers, the brooding sociopath Mars (Ben Foster) is depicted, along with the teenage Jennifer, in a juxtaposition of warped religious symbolism. It's a result of novice director Florent Emilio Siri's heavy-handed approach and desire to add some kind of meaning and substance to his first live action blockbuster. While he brings an assured and at times stylish hand, it's one that will in the future benefit from subtlety and restraint.

According to Mark Twain, "Familiarity breeds contempt" and while much of Hostage is all too familiar, there are just enough redeeming moments to elevate it above contempt.

Kevin Murphy