This sullen dramatic thriller is introspective to the point of being navel-gazing. And its up-to-interpretation form of 'conclusion' is fairly pretentious.
Take (2008)
Tomatometer
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Reviews Counted: 26
Fresh: 11
Rotten:15
Average Rating: 5.1/10
Consensus: A story of redemption held together with flashbacks, Take has moments of emotional intensity, but is ultimately undone by preachiness.
Genre: Dramas
Theatrical Release: Jul 18, 2008 Limited
Synopsis:
Take occurs over two days – one day in the present and one day in the past.
In the present, Ana drives through the desert to witness the execution of the man who has dominated her life for the past seven years, the man she has never spoken...
Take occurs over two days – one day in the present and one day in the past.
In the present, Ana drives through the desert to witness the execution of the man who has dominated her life for the past seven years, the man she has never spoken to. Saul, with his priest, waits out the final hours of his life. Each must grapple with what their lives have become since the day their paths crossed so many years ago.
In the past, Ana discovers that her seven-year old son, Jesse, has been kicked out of school. Unless she can find a night shift and home-school him, she will be forced to put Jesse in special-ed. Determined to save him from being lost in a world where he doesn't belong, Ana attempts to restore order to their lives.
On that same day, Saul is in a desperate fight against time to pay off his gambling debt and care for his ailing father. Forced to take on a precarious assignment for quick cash, he is faced with one struggle after another until he finds himself staring down a fateful moment of decision.
When Ana and Saul cross paths, it only takes an instant for their lives to be tragically connected. It is not until the present day, when Ana arrives at the prison to face the man who destroyed her life, that both Ana and Saul discover who they are and how far the soul will go to survive. --© Official Site
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Starring: Minnie Driver, Jeremy Renner, Bobby Coleman, David Denman
Starring: Minnie Driver, Jeremy Renner, Bobby Coleman, David Denman, Adam Rodriguez, Bill McKinney, Emily Harrison
Director: Charles Oliver
Director: Charles Oliver
Screenwriter: Charles Oliver
Studio: Liberation Entertainment
Reviews for Take
It's close but no cigar for first time writer/director Charles Oliver as he bashes his unfortunate audience with a preachy and one-dimensional exposition of revenge wearing restoration clothing.
A dreadfully misguided movie whose story of redemption is utterly irredeemable.
Take, delivers a solid plot; however, some flashbacks scenes during the middle of the film drag on. The movie is strong enough to overlook these minor setbacks. This is a powerful Minnie Driver vehicle.
Clean but adult-themed movie that takes an intense look at extreme forgiveness and restorative justice.
The talky redemption element, however, ultimately feels artificially tacked on.
A confident debut film for Oliver, proficiently made and refreshingly subdued in style.
Take is too enamored of its time-shifting gimmick and cheap suspense to ultimately have much impact.
Charles Oliver's directing debut, Take, unfolds in sun-baked Southwestern locations, but it's a dreary affair all the same.
Minnie Driver's brilliant performance carries this film into the brave and compelling nature of the story.
Resides in the same lives-intersect-through-tragedy wheelhouse as 21 Grams and Monster's Ball, without those films' romantic underpinnings or powerhouse performances.
Obscured by ugly, dark photography, a jumbled script, mumbled performances, and clueless direction that make it impossible to see or hear a lot of what’s going on even if you cared, the result is a film of monumental incompetence.
A frantic mother and a desperate criminal cross paths with devastating results in first-time writer and director Charles Oliver's emotionally charged drama.
Dramatically, however, Take consistently works, and, with such a story, that's an amazing thing.
If there is anything the cinema needed less than another angst-ridden, cross-cutting tragedy about crime, fate, memory and redemption, it’s the kind shot in an ugly monochromatic palette like Take.
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