Taken 3 (2015) Movie Review – Action, Revenge, and a Familiar Formula

                                              

Introduction: The Return of Bryan Mills

Released in early 2015 in the United States (following a December 2014 premiere in Germany), Taken 3 marked the final installment of the action-packed Taken trilogy. Directed by Olivier Megaton and starring Liam Neeson once again as the brooding, sharp-witted former CIA operative Bryan Mills, the film attempted to build upon the momentum—and box office success—of its predecessors, Taken (2008) and Taken 2 (2012).

While Taken 2 wrapped up the revenge storyline and seemingly brought closure to the characters, the franchise’s popularity and cult following made a third installment almost inevitable. Commercial viability drove the creation of Taken 3, and although it treads familiar territory, fans of the series were eager to see Neeson’s character back in action.

Spoiler Alert.

Plot Overview: Murder, Framing, and Relentless Pursuit

In Taken 3, the narrative takes a slightly different direction. Rather than Bryan Mills rescuing a kidnapped loved one, the plot focuses on Bryan being framed for murder. The stakes remain personal, but the setting shifts from international locations to a cat-and-mouse game within the United States.

Bryan’s ex-wife, Lenore (Famke Janssen), is experiencing marital problems with her current husband, Stuart (Dougray Scott). There are subtle hints of a possible reconciliation between Lenore and Bryan, especially after the intense experiences they shared in Taken 2. Bryan, already on good terms with his daughter Kim (Maggie Grace), seems ready to reconnect with his family.

But tragedy strikes. On the morning of a planned breakfast meeting with Lenore, Bryan discovers her murdered in his apartment. The police arrive quickly and immediately consider him the prime suspect. Given his history as Lenore’s former husband, the suspicion seems plausible from the authorities' perspective.

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Bryan on the Run: Escapes and Investigation

As expected from a trained covert operative, Bryan escapes police custody with calculated precision. He heads to a secure hideout, setting the stage for the film’s core narrative: uncovering the real killer while evading the law.

From his hideout, Bryan begins to analyze the situation. He reconstructs the crime scene, traces surveillance patterns, and uses his unique skill set to start piecing together the conspiracy. As the police close in again, he makes another daring escape, this time using their own vehicle. It’s vintage Bryan Mills: quiet, efficient, and effective.

The investigation leads Bryan to his daughter, Kim, who is unknowingly being tracked via a planted device. He removes the tracker, warns her about the danger, and begins to suspect that Stuart knows more than he initially claimed.

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High-Stakes Action and a Global Web of Deceit

The middle portion of the film escalates with a series of fast-paced sequences—car chases, close-quarter fights, and intense showdowns. One of the more memorable scenes involves Bryan crashing down a cliff in a car, only to emerge relatively unscathed and more determined than ever.

Eventually, Bryan confronts Stuart and learns that a former Spetsnaz operative, Oleg Malankov (Sam Spruell), was hired to kill Lenore. But the deeper truth is more sinister: Stuart orchestrated the entire setup to claim a $12 million life insurance policy and needed Bryan to take the fall.

In true action-thriller fashion, Bryan stages a final takedown. After a brutal gunfight and a dramatic chase, he captures Stuart and delivers him to the authorities. The police, having uncovered the truth, clear Bryan’s name.

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Performance and Direction: Neeson Delivers, but Familiarity Breeds Fatigue

Liam Neeson once again proves why he remains a compelling action lead. His portrayal of Bryan Mills is consistent—resolute, composed, and unwavering in his loyalty to family. Neeson’s performance grounds the film, lending it emotional weight even as the plot strains believability.

Famke Janssen and Maggie Grace reprise their roles with sincerity, though they have limited screen time. Dougray Scott’s portrayal of Stuart adds a layer of corporate menace, although the twist in his character arc feels predictable.

Director Olivier Megaton maintains a frenetic pace, leaning heavily into shaky cam techniques and rapid editing during action scenes. While this adds urgency, it sometimes hampers clarity, especially during fight sequences.

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Critical Reception vs. Audience Response

Critically, Taken 3 received mixed to negative reviews. Many reviewers pointed to its formulaic plot, lack of innovation, and overreliance on clichés. However, for fans of the series and general action moviegoers, the film hit the mark in terms of adrenaline and familiar storytelling.

Audiences came for the action—and they got it. Whether it’s Bryan escaping the police, hacking into systems, or engaging in brutal hand-to-hand combat, the film delivers its promises. Viewers who appreciated the first two installments found Taken 3 a satisfying, if not groundbreaking, conclusion to the trilogy.

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Box Office Performance: A Commercial Success

Despite its lukewarm critical reception, Taken 3 was a box office success. Produced on a budget of approximately $48 million, the film went on to gross over $325 million worldwide. This financial performance confirmed the franchise’s profitability and Neeson’s continued bankability as an action star.

The trilogy as a whole became a staple of early 2010s action cinema, inspiring a wave of similar “retired agent” revenge thrillers. Neeson’s success in these roles even prompted discussions about the evolution of the middle-aged action hero archetype in modern Hollywood.

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Themes and Legacy: Family, Revenge, and Survival

The core themes of Taken 3 remain consistent with the rest of the series: family, justice, and the relentless pursuit of truth. Bryan Mills is a character forged by personal loss, professional trauma, and an unyielding code of honor. In this final chapter, the emphasis shifts from saving his loved ones to defending himself, while still protecting his daughter.

Unlike the international abduction plots of the first two films, Taken 3 brings the danger home. The shift to domestic soil adds a fresh dynamic but also makes the story feel less epic. Nevertheless, the emotional beats—Bryan’s love for Lenore, his devotion to Kim, and his moral compass—continue to resonate.

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Conclusion: A Familiar but Entertaining Farewell

Taken 3 doesn’t reinvent the wheel. It follows a proven formula—tight pacing, gritty action, and a lone hero with unmatched skills. But for fans of Liam Neeson’s Bryan Mills, that’s more than enough.

While critics may have found fault in its structure and execution, the movie’s success lies in its straightforward delivery of action and emotional stakes. It concludes the Taken trilogy with a sense of closure, if not innovation.

If you’re a fan of the franchise, Taken 3 is worth watching. The emotional motivations are there, the action is solid, and Neeson remains a commanding presence. And in a cinematic world saturated with spectacle, sometimes familiarity can be its own reward.

Mary Reilly - Released in 1996 - Starring Julia Roberts, John Malkovich, George Cole

Released in 1996, Mary Reilly is based on the novel of the same name by Valerie Martin. The book is also loosely based on and inspired by the Robert Louis Stevenson’s “Strange case of Dr. Jekyll and Mr. Hyde”. As in the novel, the movie follows the story of a simple house maid played by Julia Roberts, and her attraction and revulsion of her Master, Dr. Jekyll, played by John Malkovich. Directed by Stephen Frears and written by Christopher Hampton, the movie has brought back together the same team well known for the Oscar winning movie Dangerous Liaisons. The other actors in the movie include Glenn Close, George Cole, and Michael Gambon among others.
The movie begins with the blossoming friendship of Dr. Jekyll (John Malkovich) and his servant, Mary (Julia Roberts). But when Dr. Jekyll announces that he has hired an assistant, the entire house is abuzz with confusion and speculation. Days go by, and the staff, Mary included try to fathom the mystery of Mr. Hyde, Dr. Jekyll’s new assistant. A little more Goth and sinister twists are added, when Mary is asked by Dr. Jekyll to deliver a letter to Mrs. Farraday at the whorehouse. She is to let a room for Mr. Hyde.
Mary like the rest of the staff is curious as to Mr. Hyde’s habits. And one day she follows him into Dr. Jekyll’s lab, where she sees him handing over a cheque for blood money. However, in an attempt to escape so as to go unnoticed she hides in the lab, only to find the exit locked. When Hyde discovers her he merely smiles at her and hands her the key.
The following day, when a hurt Dr. Jekyll sends her to Mrs. Farraday with yet another letter, Mrs Farraday is furious. She shows Mary the room she had let to Mr. Hyde. It is covered with blood everywhere including the ceiling. She returns to Dr. Jekyll with a blood stained handkerchief of his from Mrs. Farraday and a message from the madam demanding that Dr. Jekyll do whatever is necessary to cover up the matter.




Mary finally meets the enigmatic yet mysterious Mr. Hyde and realizes she is drawn to his passionate side. Jekyll asks Mary to go on an errand with Hyde, where they get talking and get to know each other. Hyde taunts her by telling her that Jekyll finds her very attractive. Over time they get to know each other.
One day Mrs. Farraday comes over to meet Jekyll and demands more money from him in order to continue maintaining her secret. The argument between the two continues and Mary who has overheard the conversation steers clear of it by heading to the garden to water the flowers. However, she notices the light in the lab go out. And when she goes to investigate, all she sees is a pool of blood on the lab table. However, she does not see Hyde who is hiding after having committed the murder of Mrs Farraday.
A little while later Mary receives news that her mother has passed away. And she heads out to make arrangements. However, she is grabbed by Hyde who was hiding in an alley after being chased by the police. When she returns to the house, she is questioned by the police in the matter of the death of Member of Parliament, Sir Carew, who incidentally also happened to be a school friend of Dr. Jekyll. She tells them nothing. But the police are suspicious especially with so many deaths surrounding Dr. Jekyll.
However, later Dr. Jekyll tells Mary she should not have covered for Hyde and that he is removing Hyde from his employment. But Mary is stunned to find Hyde the next morning in Jekyll’s bed, especially since he had been dismissed. She tries to raise an alarm, but is stopped by Hyde who then reveals that Jekyll and he is one and the same person. And that Jekyll turned into Hyde every time he would take a serum for his depression. In order to return to Dr. Jekyll, Hyde would inject himself with the antidote.
Hyde makes his advances on Mary wishing to make love to her. However, a very shocked and stunned Mary then demands to leave. She returns to the kitchen contemplating what to do next when Dr. Jekyll enters and demands that another assistant take a sample of the serum to the lab to have it analyzed and also to have certain changes made in it successfully. However, the assistant returns with no success on the matter. In the meantime, Mary decides to leave the establishment. She packs her things and on her way out decides to stop by the lab.
However, when she enters, she is attacked by Hyde. But he doesn’t kill her. Instead he injects himself with the antidote. She witnesses how Hyde transforms back into Dr. Jekyll. Jekyll tells her that Hyde had added a poison to the antidote, and dies in her arms. The last shot of the movie focuses on Jekyll the next morning, who though was dead, has transformed into Hyde and is awake and smiling.
The movie has a dark, gloomy feel to it. It draws it viewers to the gothic, frightening world which was captured in the writings of Valerie Martin. While it is loyal to the original, it is in many ways better than Robert Louis Stevenson’s version, mainly because it does not focus of Dr. Jekyll turning into some sort of “Wolfman”. Neither does it focus of theatrics. What it does successfully achieve is the belief of something evil, and one woman’s psychology of finding both good and evil in one man.
All the performances are restrained. Julia Roberts doesn’t have many dialogues but successfully portrays a woman who is naïve and innocent yet comes from a tormented past. John Malkovich portrays Hyde and Jekyll with not much difference excepting the presence and lack of facial hair as Jekyll and Hyde respectively. The sets are vast, magnificent yet overbearing all at once. But overall, Frears has successfully accomplished what he had set out to achieve, and that is trying to create a film which is visually appealing and free from stereotypical clichés of present day horror movies.

The Dancing Masters (released in 1943) - Starring Laurel and Hardy

‘You’re always sticking your foot into something…’
And this time Laurel and Hardy (proprietors) at the Arthur Hurry School of Dancing are kicking up and sticking their foot into many sticky pies! The opening scene is funny and endearing as a surprisingly agile Hardy instructing pretty ladies that ‘gracefulness is everything’- never mind the ditty is ‘London Bridge’, in an adjoining hall, Stan pirouettes like a ballerina, showing off ‘the dance of the pelican’, his “own original creation”- as his mum looks on, a lady comments “isn’t he light?”, and mum retorts scornfully “in the head!”
The duo is facing financial troubles, even though their friend and pupil Trudy Harlan (Trudy Marshall, Too Many Winners) pitches in. Unbeknownst to them, elsewhere in the city are a bunch of goons at the ACME Importing Co (a clever cover-up), who plan to sell insurance, instead of ‘protection’, to throw the FBI off of their scent. Thus, ‘The Last Mile Insurance Company’ is born.
Their first clients are the gullible and easily intimidated proprietors at Arthur Hurry (the Company guys think they have ‘tremendous business’) - who at refuse the insurance, but are not so subtly told that the ‘joint’ may burn down, suppose there were to be an explosion, or a partner (gesturing at Stan) broke an arm or a leg - this grabs their attention, and are filled with wonder that one could actually earn money for something like that! So the going rate for Stan’s missing limbs are decided thus:
- breaks an arm: $5000
- breaks an arm AND a leg:$10,000
- breaks an arm and leg, AND loses an eye: $25,000
- and in the event he breaks his neck: Oliver Hardy, beneficiary for the full amount : $100,000!!!!$$$!!!
The first premium of $100 paid, and a threat hanging over him to pay it again by the third of the next month -the Company leaves, duping the duo. Meanwhile, Trudy invites her love interest, Grant - a mechanic at her Father’s factory, along with Laurel and Hardy, as her parents are leaving for Washington. On the other hand, her Father is hoping that the future Vice President of his company George Worthing, would also be his future son–in-law. He fires Grant for accidentally injuring George.





At her house, the three men make themselves comfortable, but Grant spills some ginger ale on his trousers, so Trudy offers to dry them for him. As Laurel and Hardy bicker over an issue, Hardy goes out of the front door - only to come charging back in: the Harlans are back with George Worthing! They hide upstairs in the bedroom, under the beds, whilst Grant (trouser less) ducks behind a sofa. Harlan Sr. is giving George a tour of the living room, he accidentally fires a gun, and Grant’s cover is blown - he tells Harlan that he was invited by Trudy, the men don’t realize he is in his undershorts, when Mrs. Harlan enters the room - she screams in shock, Grant leaves, George threatens to punch him in the nose of he ever sees him hanging around Trudy. Mrs. Harlan, in hysterics after seeing her husband’s secret stash of liquor in an elaborate bar behind the book shelves - hurries up to her bedroom, where Laurel and Hardy are still under the beds!
Wentworth Harlan and George unwind over drinks - the latter discloses Grant’s secret invention - an invisible ray that would revolutionize warfare. George has the hideous plan of sabotaging the invention when Grant runs out of money, to claim it for his own, Harlan is interested and decides to be in cahoots with him. A hard day over, the Harlans settle down in bed - unaware of their strange bedfellows, one of whom dear ol’ Stan, falls asleep like a baby, but snores like a hibernating bear - waking up Mrs. Harlan. She in turn wakes up Mr. Harlan - and they bicker about each other’s snoring. Hardy tries to shush Stan, Mrs. Harlan thinks it’s her husband shushing her - ‘Don’t you shush me, if there’s anything I hate - it’s a shusher’- she declares. Meanwhile, the duo - Stan and Hardy try creeping out, getting cold feet when they see the sheer drop from the window.
As they hang on for support, grabbing a carpet, Hardy drags Wentworth’s bed out of the window into the fountain below, but they manage to escape as he screams for the police! Their troubles start to pile up, with the landlord threatening to dispossess them, evict them, throw them out - unless they pay the rent by midday. Hardy refuses to withdraw from the bank as the $300 they have is ‘our nesting’. Despite their resolve, they end up using it to buy a grandfather clock at an auction!
On the other hand, Trudy wants her friends to help Grant, so that the presentation of the invisible ray gun can take place; the Ollie , in the guise of Professor Findash Gorp and Stan, as his assistant, proceed to give a demonstration; as the catchphrase goes ‘well, here’s another nice mess you’ve gotten me into’- in  true-blue L & H style, they goof up - burning down Harlan’s property, and worse, destroying Grant’s invention! They decide that they must repay $10,000 to Grant - Ollie concocts a devious plan on the sly to ensure that Stan breaks his leg - so that he can claim insurance on his behalf, unaware that he’s been duped by the Company.
He overhears someone say how they broke their leg on a roller coaster - that gives Ollie an idea, and he takes the unsuspecting Stan to the boardwalk. Meanwhile, George Worthing, never one to give up, steals the blueprints of Grant’s invention - to the horror and dismay of Harlan, who realizes he’s misread the executive’s character - and so, fires him. He also promises Trudy to finance Grant’s research.
Elsewhere, our poor unsuspicious  Stan goes along with Ollie’s plan, only fate has different ideas in store- and in the end, after a harrowing ride in a bus on a roller coaster, it is Ollie whose leg breaks, and who has to recuperate in hospital whilst good ol’ Stan waits by him, munching his fruit! Brilliantly directed by Mal St.Clair, there is never a dull moment – great watch for a rainy afternoon with the kids!

Corvette K-225 (released in 1943) - Starring Randolph Scott, Ella Raines and Barry Fitzgerald

Corvette K 225, a war-drama film, is directed by Richard Rosson. Tt features a story bound ship HMCS Donnacona, of the Royal Canadian Navy. It stars Randolph Scott (other movies: 7th Cavalry, Comanche Station) as Lt. Cdr McLain and Ella Raines (it was her debut film in 1943). During the War, MacLain has to return to his native Canada, after having suffered a terrible setback - his ship, a Corvette, is blown apart by a German torpedo whilst escorting a convoy.
Seething, the Lt. Cdr is determined to take vengeance for deaths of those men who were mercilessly gunned down by a German U-boat. He refuses the Admiral’s offer for leave, and decides instead to wait until a new ship is commissioned. Whilst he’s on standby, he befriends Joyce Cartwright, played by Ella Raines, the sibling of Dick Cartwright, an officer who lost his life on the ship under McLain’s command.
Quite naturally disturbed by the loss of her brother, Joyce pins the blame for his tragic and untimely death on Mac; she is heartbroken and believes that if it weren’t for him - Dick would still be alive. However, time heals the ugliest wounds, and gradually, her animosity towards Mac fades, and is replaced with love.
In the meantime, the HMCS Donnacona, a Corvette K 225 is commissioned with a crew of sixty five men, which includes Joyce’s  young sibling - Lt. Paul Cartwright, a typical youngster who complains about what a hard act to follow and please MacLain is. The ship is bound for Europe, under the command of Commodore Ramsay, tasked with the duty of carrying cargo such as airplanes, gasoline and tanks. The Germans are stationed off the coast of Newfoundland, at Ethel, when another ship is torpedoed - the HMCS Donnacona sights the remnants – dead soldiers who have been thrown to the surface from the bowels of the ocean.

On the ninth day, the HMCS Donnacona is caught in the midst of a raging storm, as a result of which, it strays from the convoy and is lost. When the ship is about three hundred miles away from the Irish Coast, MacLain realizes there are more ships like the HMCS Donnacona which have strayed away from their convoys, he meets the Captain of the tanker Egyptian Star, who conveys dire warnings and fears to MacLain, believing that his ship is being followed and is under surveillance of German submarines.
Just as the Captain warned, they come under German fire from a squadron of bombers, but one of the convoy’s fighter planes comes to its rescue. In the fighting that ensues, the Egyptian Star is sunk by a torpedo, while the HMCS Donnacona takes on the submarines. Using a depth charge, one of the submarines is eliminated, however, the HMCS Donnacona comes under attack from a U-boat in a surface battle that disables it, Mac is also injured. Lt. Paul Cartwright with Seaman Stooky O’Meara move underwater to dispose the depth charges, which strike the submarine.
When it’s destroyed, MacLain recognizes the U-boat as the one which was responsible for the death of his men. The HMCS Donnacona arrives safely in Ireland with another six merchant ships. As a mark of respect, before it anchors the Corvette K 225 sails past the other docked ships, which salute the crew for its unsurpassed courage in the face of the enemy. A film which has a tragic beginning, but a triumphant end; an easy watch if you’re a WWII movie buff!

Adaptation - Released in 2002 - Starring Nicholas Cage, Meryl Streep and Chris Cooper

In 1998, Susan Orlean, an American journalist investigated a case of orchid poaching in a south Florida state preserve. Her book is a glimpse into the peculiarities of the lives of the people in the plant business and the struggles they face on a day-to-day basis. The result was the book “The Orchid Thief”.
In 2002, the book was the inspiration for the movie ‘Adaptation’, in which Meryl Streep plays Susan Orlean, Chris Cooper plays John Laroche , the poacher, and Nicholas Cage brings to life the twin characters of Charlie and Donald Kaufman; in real life, Charlie Kaufman has written the screenplay. The meta character of the film talks about Charlie’s challenges whilst trying to adapt the book for the silver screen, in that it is almost a semi autobiographical memoir of sorts.
The character of Laroche has many interesting shades; here is a man obsessive about creating a clone of the extraordinary Ghost Orchid, to reap rich benefits; the catch is that they grow in an elusive swampland which is Seminole (a Native American Tribe) Territory, the Natives use an extract from the flower for illegal drug use. John takes advantage of the Seminoles’ legal right to use their own ancestral property as they will - and ropes in members of the community to help him out.
His passion is evident when he asks Susan whether she knows why he likes plants:
“You know why I like plants?  Because they're so mutable. Adaptation is a profound process. Means you figure out how to thrive in the world.”
Perhaps that sets the cadence for the film - the means of finding out how to succeed in the world. ‘Adaptation’ quibbles over the Darwinian principle of how to adapt, as opposed to how to evolve; it is extrapolated to the excruciating course taken to adapting The Orchid Thief into screenplay.




In the movie, Charlie assays the character of Laroche at great length, but is unable to find more ‘meat’ to adapt this character for the screen; he is also unable to represent the breathtaking beauty of the orchid visually. Since the book is more of reportage, it lacks the inherent drama required for a movie, and therein lies the challenge for Charlie, who suffers from a case of prolonged writer’s block.
Dealing with his own personal demons - depression, social phobia, self loathing - Charlie struggles to create an impact on Amelia Kavan (played by Cara Seymour; Hotel Rwanda, Gangs of New York), his own diffidence and insecurities act as a barrier, keeping him from her, although she is undoubtedly interested in him.
The opening voice over waxes eloquent about Charlie’s copious foibles - bald pate, lack of talent, least enviable body etc. His monozygotic twin Donald, also an aspiring writer, with far less talent yet tons more confidence, chooses to make Charlie the subject of his writing, fascinated with the sibling’s  ‘chalk’ to his ‘cheese’ existence. The bi polar character he writes about has shades of the twins, except that it is a madman and woman, wrapped in one - to Charlie’s utter bewilderment, he wonders how Donald would get them together in the same scene - ‘when one has the other locked in the basement’. However, Donald’s “clichéd psycho-thriller” sells for a million bucks, as the ink starts to flow from Charlie’s end – unconsciously referring to his own life and times  throughout the screenplay.
Charlie’s much thumbed copy of The Orchid Thief, resplendent with yellow post-its and neon highlights, gives him sleepless nights, not only because the gauntlet jeers at him, but also because he fancies himself besotted with Susan, whom he calls to mind in a state of euphoric self gratification.
These three characters are primary to the story line, the shades to their person, their anxieties, their joys and trials are what pepper the script-not the usual sex, action and car chases. However one may try and avoid the pitfall of ‘formula’- it is almost impossible. And when Donald, posing as Charlie meets Susan (the latter gets cold feet, and returns), he feels something is amiss. The two follow Susan to Florida, only to discover Laroche and her in the throes of Ghost Orchid-drug-induced passion.
A violent car chase ensues, with Donald getting killed and Susan being arrested, in case you’re wondering about Laroche - an alligator got to him before the police did. With Donald gone, Charlie picks up the pieces of his life, and writes the screenplay, with Gérard Depardieu in mind.
The film won nominations for Streep, Cage and Cooper at the 56th British Academy Film Awards; while at the 75th Academy Awards, Cooper was awarded in the Best Supporting Actor category. Interestingly, Donald Kaufman is the only fictitious character to have been nominated for an Oscar!

Film - Face Off (starring John Travolta and Nicholas Cage) - Action thriller - Released in 1997

“There is no art to find the mind’s construction in the face.”
Face /Off is an out and out thriller, throw in sentiment for good measure, a few teary eyed moments and voila - a full thriller where you don’t have to think too much. The cops and robbers routine is taken to the next level when FBI Special Agent Sean Archer (John Travolta) loses his son to Castor Troy’s (Nicholas Cage) bullet - one which was meant for him.
Castor’s Achilles’ Heel is his brother Pollux Troy (Alessandro Nivola); they are both planning a bomb blast in LA -  whilst Castor is severely wounded in the gun battle that ensues, Pollux, the only guy who knows the location of the bomb, is taken captive.
Meanwhile, the vegetated state of Castor ensures there’s no way he’s disclosing the whereabouts of the bomb, so it’s now left to Archer to step up to the moment.
In a bizarre proposal, doctors tell Archer he can take on Castor’s identity – by way of a ‘Face/Off’. He has so much at stake but mainly the memory of Michael, his son, needs to be laid to rest. And so agrees to get a new face, a new identity. After the operation, Archer (as Troy) is incarcerated in the same prison as Pollux, and manages to get the location of where the bomb is planted. The tricky part now is getting out unscathed from Erewhon prison.
Castor Troy, now faceless, arises like phoenix from the ashes, and manages to get a face for himself - that of his rival Archer. And along with the new identity he has certain perks – a lovely wife, a beautiful home and a whole lot of ways to make sure that he uses the FBI to get rid of Archer once and for all. In order to earn the trust and praise of the department, Castor defuses the bomb - and becomes a hero. He takes to his new role like a fish to water, while the actual Archer faces near death in a prison riot, but manages to escape; once out, his aim is to get in touch with all of Castor’s network - his buddies and girlfriend, included.
Déjà vu when Castor (actually Archer) sees Adam, Sasha’s son (Castor’s ex) - and memories of Michael come flooding back. On the other hand Archer (actually Troy) is making inroads with Jamie - the daughter, who says she can never bring herself to forgive her father for what happened to her brother Michael. Having climbed the upper echelons of the Department ladder, Archer now takes matters into his own hands after he kills an FBI big gun and is himself promoted to Assistant Director In charge - virtually untouchable AND hopping mad because Cage killed his brother Pollux.



Meanwhile the actual Archer (in guise of Troy, played by Cage) approaches Eve, his wife and convinces her that the man in her home is the impostor Castor Troy; she tells him that Troy will be attending the funeral of the official he’d killed. But Castor, a veteran to cat and mouse games, is a step ahead, and he takes Eve hostage. In the gun fu that ensues Castor manages to escape in a speed boat, only to be brought down by Archer, who wins back his family and self respect, with a second chance at caring for the child Adam, whose mother Sasha was killed in the crossfire.
John Woo is known for bringing the Asian character to his films - they may be a little over the top, however, audiences love them. Both Travolta and Cage were two actors he had worked with earlier in Broken Arrow and Windtalkers. An excellent play is conducted by Woo on the words and names in the Film. For instance, Castor and Troy, according to ancient Greek Mythology - are brothers who make up the constellation Gemini, the prison Erewhon is the word “nowhere” written backwards.
With a rousing musical score by Hans Zimmer, the Movie was well received by audiences and critics alike - it was nominated for the Academy Award for Sound Editing (70th Academy Awards, 1998), losing to the Titanic. It won the Best Action Scene in the MTV Movie Awards and the Best Directing and Writing in the Saturn Awards.

Mr. North (released in 1988) - A comedy starring Anjelica Huston, Anthony Edwards, Robert Mitchum and Lauren Bacall

Mr. North is the tale of a smooth charming young man who ingratiates himself with the town's rich and famous. Adopted from the book “Theophilus North” by Thornton Wilder, the screenplay was written by John Huston practically on his death bed. The movie in itself is a family affair, with direction done by Danny Huston, and the cast consisting of Angelica Huston, Allegra Huston and Virginia Madsen, Danny's would-be-wife.
Mr. North is the story of Theophilus North, who is an alumnus of Yale, looking hard for a job. He ends up in a town where the hierarchies of rich and poor is rigidly enforced. This is the place where proper diction and manners rule roost, a place more Victorian than the Victorian era. The rich are superbly so even if their source of income is pretty dubious. Theophilus North sets himself in to the society by tutoring the kids to read, directing the summer plays and teaching them to play tennis. He also gets to know the women folk who are immersed in endless kitty parties and canasta sessions. The serving class include the parlor maids, the butlers, the grooms, page boys and all the sundry who make the rich comfortable in their place.



As the class divide is rigidly enforced, the town becomes two worlds on its own, with only Mr. North subtly navigating the breach. But the rich have their fair share of troubles with migraines, lack of love, drunkenness etc plaguing them. The older rich are kept bed ridden by kids who want their money. North comes across Mitchum Bosworth who is a wealthy owner of a brewery and is kept at his death bed by his devious daughter and a doctor friend. Now North has this wonderful ability to transmit electric current through his body. So he zaps the zits of a teenager’s nose, quells the migraines and brings in the joy. He cures Bosworth of his addiction and helps the parlor maid to get her love. Soon North is the darling of the town. But wicked people who do not like the turn of events, spread rumors of him being a quack and soon he is arrested and tried for deception. But the town rallies around him to get the good old doctor out of the gaol and Bosworth makes him the director of the institute of philosophy..
Anthony Edwards plays the the role of Mr. North to perfection. He is fresh faced, clear cut and youthful and it is impossible not to like him. North has no problem solving problems and also gets the love of young Persis who is Bosworth's grand daughter. Angelica Huston has a minute role of Persis who comes out of the house just to ride her horse. The best goes to Lauren Bacall who is the Boarding house mistress who plays a wicked game at the cards and Edward Stanton, the fake British Caretaker who is actually from Chicago. Mr. North is a feel good and spiritual movie which delivers the message of goodness in people. Especially coming from the Pulitzer prize winner Thornton Wilder, it is one great outing.