To be sure, Kidnap is unadulterated B-movie nonsense, but when it’s delivered with this level of trashy gusto, the pleasures are plentiful. Show more See all critic reviews on metacritic.com.
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Also Read: Our hero’s planned revenge for his own problem, which involves enlisting a pair of local motel employees for a fake kidnap scheme that would trigger the company’s insurance payoff, sets a rapidly escalating chain of violent events in motion that could offer a real chance for Harold to escape his life. As appealing an actor as Oyelowo is, though, it’s nearly impossible to care about Harold’s predicament because the movie (its haphazardly constructed screenplay credited to Anthony Tambakis and Matthew Stone) has little finesse when it comes to characterization, plotting or eccentric action. It’s one of those movies in which the kingpin’s professed love for the Beatles in one scene spells certain death later on when someone stupidly disagrees with his music tastes. (The question never gets old: Don’t people in movies see movies?) Randomness and coincidence is integral to the architecture of “Gringo,” and director Nash Edgerton (Joel’s brother) cares little for whether it makes sense or not. Sharlto Copley’s a reliably gritty presence, for instance, but does his ex-mercenary aid worker, hired away from Haiti to find Harold in Mexico, also have to be the boss’s brother? I’m still trying to figure out the purpose of Harry Treadaway’s and Amanda Seyfried’s characters, a pair of dating LA guitar shop workers whose own Mexican trip conveniently coincides with everything in the movie for no believable purpose.
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(Feel a twinge of regret, if you will, for what this movie says about Seyfried’s career.) Also Read: Elsewhere, Joel Edgerton looks confused as to whether his character is mean-funny, or dumb-venal, or just bored. Theron, on the other hand, is fully committed to the retrograde schlock of her sexually rapacious and willfully cruel boardroom villainess, as if she’d bathed in a perfume called “Network” just for the sexist trolls in the audience. For a movie with such a blinkered view of humanity, one that only draws attention to Harold’s Nigerian ancestry so it can let us know his uncle scammed people with prince letters, it’s almost surprising how hard it tries to cobble together a happy ending for its good characters, and just desserts for its baddies. It’s the rare dark comedy that ultimately feels insecure about its dim outlook. And what of the country where “Gringo” is mostly set? Mexico deserves better, surely, than a bunch of corrupt characters, none of whom even make the poster. On second thought, maybe that’s a good thing for the land where this movie goes to die.