आलोचक समीक्षाएं

Between Berry’s committed performance and the film’s brisk cocktail of dread and adrenaline, Kidnap makes for a rousing, if ridiculous, ride.

Spanish filmmaker Luis Prieto, who directed the 2012 remake of Nicolas Winding Refn’s Pusher, adroitly leverages Berry’s familiar face and onscreen persona to consistently escalate tension, as DP Flavio Labiano and editor Avi Youabian construct their shots and action sequences to enable her to totally own the screen.

To be sure, Kidnap is unadulterated B-movie nonsense, but when it’s delivered with this level of trashy gusto, the pleasures are plentiful.

The implication is that Berry’s character, Karla Dyson, isn’t like other parents, and yet, what makes Kidnap so compelling is that she behaves exactly the way you think you might under the same circumstances.

The bottom line is that, while Kidnap isn't without its hiccups, it's another fun bit of Berry badassery -- and certainly better than the film's rocky history to this point might suggest.

It’s a dopey but pulse-pounding B-movie.

Ultimately, Kidnap is an efficient vehicle for the delivery of some lean action that's frequently weakened by a scarcely whip-smart script.

Maybe if the filmmakers suggested that these villains were once children with mothers themselves, it might have made their crime, and the chase that ensues, less one-dimensional.

Kidnap has a tossed-together sameness to it, like a salad made up only of tired lettuce.

The Emoji Movie might have been a boring and brazenly cynical piece of corporate propaganda, but at least it had the courtesy to be offensive. Kidnap, on the other hand, doesn’t have the the courtesy to be much of anything.