Taking Lives - Für Dein Leben würde er töten

Imagine Seven,The Bone Collector,Kiss The Girls,Red Dragon and a load of similar movies all rolled into one,and you might get something like Taking Lives. It's quite a stylish and sometimes exciting movie,it's just almost completely lacking in originality. It's also pretty obvious who the killer is early on,so the film's plot has to take some very silly twists and turns to try to hide this.

Nevertheless,there is much that is good,perhaps it was realised that the script was mediocre and everybody tried hard to try to overcome this. Director David T. Caruso gives the film a very stylish feel,with some interesting use of camera angles and colour-check out the opening scene,in which the colour has been altered in some way to make it look somewhat dreamlike. A brief but exciting car chase and a murder in a lift are very well staged and edited. Angelina Jolie turns her unbelievable role into something approaching good,and Ethan Hawke almost matches her,especially near the end. Philip Glass's score is terrifically menacing,and the film is well paced,the first half slow but increasingly suspenseful and uneasy,the second half fast and full of action. There is also one 'jump' which really works well,I won't describe it but think of the hand coming out of the grave in Carrie...... The climax is over a little quickly,and gives us a supposed plot twist which is than proved to be fake. It would have been a lot more interesting if said plot twist was real.

Taking Lives never really delves into the twisted minds of it's two main protagonists nor truly gives a sense of evil as,for instance Seven did. It's one of those films that always seems on the verge of being really disturbing or thrilling and never gets there. Nevertheless,if you like serial killer movies,you're probably like this one,even if you will probably be able to guess much of the plot right from the beginning.

This was a so-so serial killer movie with good and bad marks. The good marks were mainly for keeping the viewer's interest. You don't fall asleep watching this film. Angeline Jolie looks as good as I've ever seen her, facially and figure-wise.

The film loses marks for an easy-to-solve story, some credibility gaps especially later in the movie and too small a part for Keifer Sutherland to get third billing. He has a very short role in here, hardly worth billing which was a bit disappointing.

Also, the French accents by Jean-Hgues Anglade and Tcheky Karyo were hard for me to understand, forcing me to put on the English subtitles.

Taking Lives is a police procedural about a serial killer whose M.O. is to `take' his successive victims' identities as well as their lives. He does this because he doesn't like who he is. His mother (a campy Gena Rowlands) preferred his twin brother and he vents his resentment about this over and over in his life of gruesome crime. This approach to sequential murder is the point of originality in what otherwise in most ways is a quite conventional film. It's directed by D.J. Caruso, a director of many TV cop flicks whose previous full-length movie, The Salton Sea, was a tweaker saga with Val Kilmer and Vincent D'Onofrio that was rich in cheesy atmosphere. This one makes more sense and carries some respectable thrills, but it's not certain it's altogether an improvement.

The movie begins with an intriguingly stylized prologue that shows the young teenage killer on his maiden voyage. He has probably already killed his twin brother. Now he has hit the road armed with a big wad of cash acquired by selling his mother's stolen jewelry, though we don't know all that till later. All we see is a sly, strange boy who meets another youth on a bus, hears his life story, and when the bus gets stuck on the highway, buys a cheap used car for them to continue traveling in. While they're fixing a flat, he pushes his traveling companion in front of a passing truck and his life of murderous identity theft begins.

The staging of this segment is edgy, the lighting baroque, the boys and the landscape vivid. While the filmmakers have our attention they create an original atmosphere that's not ever quite equaled when the story skips forward to the present.

For those of us weaned on Miss Marple, it's a bit of a shock to have a head dick as distractingly pretty as Angelina Jolie, she of the lips. Whether this was a smart career choice for Ms. Jolie is debatable. She works hard to be convincing. Another wrinkle - hardly a new one, though - is that once the killer has been `made', he constantly points out his similarities with her. She's FBI, but she's as focused on killing as he is. She dines and sleeps with photos of bashed heads and lopped limbs perched in front of her: she's a bit ghoulish in her obsession with her work. But serial killers and their chief investigators always bond, if we're to go by the Hannibal Lector stories.

Iliana (Jolie) has been called in by French Canadian homicide detectives, one of whom, Olivier Martinez, has lips as voluptuous as hers. His boss, Tchéky Karyo, is suave and European; but the best of the three, Jean-Hugues Anglade, is merely beat-up looking and real. It's another minor twist that this movie was not only shot in Canada, but is actually set there, though the filmmakers insist on perversely saying it's Montreal, while constantly showing views of Quebec City as establishing shots. All three French actors speak an English that's hard to understand. I could have done without Martinez's glam looks in favor of someone with clearer diction. His mumbles may have worked for him as Diane Lane's Euro-hunk lover in Unfaithful, but for a police procedural, they don't.

As time goes on the baroque cinematography, which casts three quarters of every scene in deep shadow, begins to be as murky as the staccato Frenchified dialogue. Nonetheless the movie is stylish and watchable, up to a point. Ethan Hawke appears as a nervous witness who tries to save one of the murder victims and makes a drawing of the killer. His role evolves into one of the edgiest things he's done. Already ravaged and gaunt from his impending breakup with Uma, poor chap, he gives this his tortured all. It's been a long way from the bland schoolboy role in Dead Poets Society that first brought him notice. Kiefer Sutherland does a turn that has become a cliché for him. The obvious surprises nonetheless still seem surprising, though the finale is pure camp, shameful really. A sudden car chase is irritating and unnecessary, though happily brief.

Since we began with a close look at the killer, throughout the rest we miss his point of view. Even when we get close to him we're teased into thinking we don't know who he is. The audience is left longing for a more intimate picture of the criminal psychopathic mind (à la Highsmith), the sort of thing that the flashback opening sequence hinted at. Throughout one feels that director Caruso is reaching for something a little bit original. He even has a score by Philip Glass, which used to be a distinction. It hardly is any more. There are three movies with Glass music showing right now: this, Secret Window, and The Fog of War. Taking Lives has been widely reviled by critics whose impatience with the genre makes them overlook the fact that it's really a bit above average - if we ignore the crappy final scene.

There are a lot of these crime thrillers about. Some, such as Copycat and Insomnia, offer a surprisingly good time; but more often than not, these films are a lot more like Murder by Numbers and The Bone Collector, and unfortunately; Taking Lives is like the latter. That being said, the film certainly isn't all bad; and definitely does have its moments. The plot has little regard for consistency or logic, as it constantly switches gears and throws in any number of events that are clearly there for dramatic effect and haven't been thought out properly. The film is an obvious derivative of successful nineties thriller, 'Seven' and some scenes, such as the entry into the murderer's home have been taken wholesale from the superior movie. The plot has a lot of elements, but we principally follow FBI agent Illeana Scott as she travels to Montreal in order to help their police force with a case that involves a serial killer who, not content to simply murder his victims, takes their identity and lives their lives for a period before moving onto his next victim.

The cinematography is dark and glossy, and sleazy settings mean that it's always a lot like Fincher's earlier flick. The pace of the film is poorly paced, as sometimes it's fast and furious, while at other times it's very dull. At almost an hour and fifty minutes, the film is too long; and a better editing job is definitely in order. The final half hour is of particular note for being poorly judged. It's far too slow, and means that rather than being memorable; the conclusion is tepid and disorientated. The first twist can be seen coming a mile off, and the way that it is revealed disregards logic for dramatic effect. The final twist doesn't work well either, as everything is far too convenient. It seems that in their effort to outdo all the other films in its class, the writers have forgotten that for dramatic effect to work, it needs to make sense. The acting is good enough, and it's obvious why the dark and mysterious Angelina Jolie was cast in the lead. Ethan Hawke, who I seem to like more every time I see him, is good; while Kiefer Sutherland is given nothing at all to do. On the whole, this is worth a watch if you've got nothing better to do; but there are better films that are like 'Taking Lives', than Taking Lives.

The good news is that "Taking Lives" isn't as bad as the reviews on this board would have you believe; the bad news is that there isn't much about it that's a) unpredictable or b) new. It sports a fine cast of Angelina Jolie, Ethan Hawke, Gena Rowlands, Kiefer Sutherland, Tchéky Karyo, Jean-Hugues Anglade and Oliver Martinez. Sutherland and Rowlands, however, are completely wasted.

The film begins in the '60s with a brutal murder and then jumps to the present. An FBI profiler (Jolie) is out to nab a serial killer in Montreal who takes on the identity of his victim. A witness to one of the killings, an art gallery owner (Hawke) is cleared of suspicion. While under special protection by the police, he falls for Jolie. A woman (Gena Rowlands) comes forward, claiming to have seen her dead son, which leads the investigation to the true identity of the killer.

As others have pointed out, it's fairly derivative stuff. The filmmakers would have been better off delving more into Jolie's character - a beautiful, unmarried woman who wears a wedding ring to keep the men away and sits in her bath staring at autopsy photos and also pastes them around her bed so she can study them. Jolie gives us the inability to read the profiler but the script doesn't offer much else.

There are a couple of Swiss-cheese sized holes in this film, but mentioning them would give away the plot. For all of its lack of originality, "Taking Lives" offers some suspenseful moments and some good acting.