User Reviews

I caught this little indie flick off HULU a couple days ago, and wow!- what a powerful film this turned out to be. Two great actors- Minnie Driver and Jeremy Renner- star as a struggling mom and a thief on the verge of getting possibly executed, whose lives collide all over the course of one day. The film is mostly done in flashback sequences, and it confused me a little at first until I realized the scenes with Renner on the "inside" are the present-day ones.

The film starts out a little slow, but once it gets going, you really find yourself absorbed in their lives. Renner is just great in roles like these, sort of a weasily-type character, but you still find yourself empathizing with his character, and hoping things will turn around for him. The role is something similar to the kinda character Al Pacino may have done in the '70s, like "Panic in Needle Park" or "Dog Day Afternoon". Definitely worth checking out...

As I was watching 'Take' I kept asking myself why this movie had been made. Very early on we know that a man is going to be executed and a child will be killed. I kept waiting for the child to already be dead to get it over with. Why show the abduction in such graphic detail? Why show the mother repeatedly wailing? We all know that having your child murdered is maybe the most horrible thing that can happen. The film was NOT made to advocate the meeting of victims/ perpetrators like it says at the very end. The set up for that is nonexistent. The director/ writer tries to be artsy with all the confusing flashbacks and set ups that don't lead anywhere (you see the mother waiting for her boy to come out of the rest room at a rest stop and he never does. It's totally unclear that he's a ghost at this point. The woman's husband whom she has a good relationship with just disappears. To me it was a film made for effect and gratuitous in terms of subject and violence. The actors were very good. I always enjoy Minnie Driver's work.

I watched this film because of Jeremy Renner, but it was good all around. Very puzzling plot at first, but then you realize that it is unconventional and let yourself be surprised by the turn of events. Very gritty visuals and iconic landscapes of the west with Nevada-style diners in the middle of nowhere. This could be a cult film. If you see this on DVD you may have to squint to see the fine print and realize that this really is a film with a message--see Restorative Justice websites--a community approach to healing criminal injustice. Something new to me, but maybe worth looking into if you know any crime victims--or, I suppose, criminals. I agree, what is in Ana's trailer, and what happened to her husband, and why the title?

"Take" is a film constructed in the style of Steven Soderbergh: grainy photography, flashbacks galore, a jittery, hand-held camera, timely social issues. In this case, the film is a micro-study of the unspeakable human toll resulting from violent crime.

Early in the film, it becomes clear to the viewer that there will be a fateful encounter between Ana Nichols (Minnie Driver) and Saul Gregor (Jeremy Renner). Saul's life is in a shambles when he resorts to theft and violence after he is unable to pay his gambling debts and support his seriously ill father. Ana is a mom devoted to the raising her hyperactive son Jesse. The characters have a rendezvous with destiny when a chance occurrence brings them together with tragic consequences.

One of the most intriguing characters in the film is a man of the cloth named Steven, whose job it is to counsel Saul on his final day in prison, as he is about to take the long walk to death by lethal injection. The role of the cleric reveals a major weakness of the film, as Steven attempts to frame the story ethically, philosophically, and theologically as Saul prepares for his role of the "dead man walking."

Unfortunately, the scenes with the cleric fall flat, and Saul seems to have already undergone a significant transformation long before his conversation with Ana. As interpreted by Renner, the Saul that has spent time in prison is now a new man with a remarkable intellect, who appears one step ahead of priest in every argument raised. The Saul in prison bore little resemblance to the manic, violent, and amoral Saul, who stole a vehicle, shot a cashier in cold blood, kidnapped a child, and fled from the crime scene.

Prior to the closing credits, the film's slow crawl attempts to make a strong case in support of "Redemptive Justice," wherein the perpetrator has a conversation in prison with the victim. The goal is to give a "face" to the crime in order for the perpetrator to grasp the consequences of criminal action.

In 2007, 700,000 prisoners were released, and 50% of them will be re-incarcerated within three years. But with redemptive justice, the ratio drops to 8%, according to the filmmakers. While it was difficult to believe this dramatic change based upon the characters in this film, redemptive justice is certainly worth a try, if only the victims had the courage and stamina of an Ana Nichols.

A big negative with me is any movie that claims to have a "message." Nobody in today's corrupt Hollywood has any moral authority to deliver a message to anyone. Thus, perhaps, the extreme box office failure.

I disregard any and all reviews from anyone who says they saw a movie at a film festival. All hyped up from being invited, and seeing a star or two in person; they get all dew eyed and overpraise.

The plain fact is that TAKE is an interesting but mediocre movie, not worth $11 or 90 minutes of anyone's time. I enjoyed the settings and some of the director's work was good; but that's about all. At least it wasn't a Good Robot kills Bad Robot action flick.

I loved this film. I thought it was brilliantly crafted with a real artist's eye. Everything in the film connected well. And I appreciated the realness of the film. The director created very real, raw characters and settings too often atypical of Hollywood. After watching the film I found myself thinking about it from many different aspects; it has multiple layers to ponder. I also thought the music was perfect, adding poignantly to the emotional impact of the story. The acting was excellently nuanced as well. All the main characters bring you into their presence to empathize with them, and you both feel and see on them frustration, loss, haunting on their faces. (I especially liked the little boy's look to his mother in the the back of the car at the end of the storyline.) Everyone should see this film. It leaves you a better person for having pondered the issues, for having walked in someone else's shoes for the little while.

While working at the Tribeca Film Festival, I had the opportunity to see a screening of "Take" and the film was easily one of my favorite movies at the Festival. The story really showed us the depths someone could go to in order to forgive another person. Director Charles Oliver was able to humanize a child abductor, and that's no easy task. And of course, Minnie Driver was phenomenal...the closing scene between her and Jeremy Renner in the prison is both amazing and chilling at the same time. We were truly able to see both forgiveness and deep regret in these two respective characters. I would certainly recommend seeing this movie.

Another must-see at the 2008 Phoenix Film Festival, we realized, since it got made by the producers snagging Minnie Driver in a lead role. Great film; shot with lighting and/or film stock that conferred a washed-out, bluish graininess to reflect the drear, grim thrust of the story. Reminded me of the filmic feel of last year's "Before the Devil Knows You're Dead," reviewed in this space a few months ago; then we had to defend our dwelling on Marisa Tomei's extended frontal nude scene in it in a later issue.

"Take's" gist was, crime victim (Driver) is on a road trip, on her way to witness the execution of the guy who caused her loss. That guy--what a loser. Much of the film follows his terrible, horrible, no good, very bad day. Which gets worse and worse that way as a consequence of his bad choices, granted. Like in "Devil." But. The narrative arc of convergence of convict on victim or victim on convict is paralleled by the story-within-the-story of the convergence of the two on the infamous day of the crime.

We didn't stay for the Q&A, but I wanted to ask the producer or director, did you see this as an anti-death penalty film? Because it seemed to me to say, "If the victim can forgive the transgressor, what business does society have insisting on its vengeance?" (As a hyper-rational guy, I recognize that's an emotion-based argument, not a logical one. I have other, unassailable reasons for opposing the death penalty.)

Anyway, an excellent film; maybe, along with "The Visitor," the best of the fest. And, an awesome acting job by Jeremy Renner, as the down-and-out, reprehensible, hapless Saul. I'm just damn glad they didn't name him that because he was going to have a "Paul on the road to Damascus come-to-Jesus conversion" as his execution drew closer. In fact, he put up a pretty good fight, argument, against the chaplain sent in to give him final rites, solace, what-have-you. A fine film--almost caustic to watch, but full of integrity, intensity. (For more film-osophy of this ilk, as well as "Fake News," humor, satire, news and opinion, visit the online version of our print publication, or google it and click on the link for its blog.)

I too, saw this film at Tribeca. went to see this movie not because of Minnie, but because of Adam Rodriguez. In my opinion, Adam really shone in this film. The film showcased his many talents and proved that he is extremely versatile in any type of media. He played a complicated character whose impact on the main character was strongly felt and made me question faith and forgiveness.

In sum, it is an emotionally charged piece that can be difficult to watch. I myself, had to compose myself. However in the end, I was left with a movie that really provoked me to question society and our own actions and the residual effects our actions have on them. Overall, I would definitely recommend this film to others.

A mother struggling to raise a child with learning disabilities is forced to overcome her grief to understand a man who has committed a horrible crime. Synchronicity is a common theme today in movies strangers crashing into one another their lives inextricably connected to the bitter end. I've grown weary of this concept post Magnolia & sick of it entirely 10 minutes into Crash. Take is in the same vein however is refreshingly different for two very subtle differences. The first is perspective pay attention toward the end of this film & you will see what I mean. The second is that Take manages to somehow have a death penalty message embedded in it without beating you over the head with the film makers own moralistic view right or left. This is a quiet movie with moving performances. Minnie Driver & Jeremy Renner embody their roles nicely. Both of these actors typically play second to someone bigger. Here they are given the spotlight & I think Take albeit a small film will do big things for both of their careers. Writer,Director Charles Oliver is fantastic & im curious to see what he will do next. Take is a very solid film & well worth your time check it out give it a chance.

I saw TAKE at a screening and was very moved by it. Performances by Driver and Renner were excellent. The cinematography was right on. Direction was tight. The whole film worked. Every aspect came together. Looking forward to seeing it again. Films that address this theme are difficult to make. Not to mention watch. I was uncomfortable at times. Uneasy. I found myself questioning things that I would rather not think about. But the filmmaker forged on. Continuing to push the envelope. It is an interesting script. It takes courage to shoot a film like this. I'm glad Oliver and his investors were willing to take the plunge. I hope they are rewarded. There are a lot of films out there not worth seeing. Films that focus on special effects rather than on more interesting matters. This is a character study that makes us look inward to see who we really are. Thanks.

Watching this film truly is an experience. It works on so many levels. It is heavy (appropriately) but it's accordingly powerful and meaningful. And even though the ending is what we feared it must be all along, the weight of the subject matter is somehow lightened as the credits roll, and we find reason to hope and believe that good can be found in even the most terrible situations. This film was clearly crafted with fierce attention to detail, and the combination of direction, cinematography, performance, and sound is wonderful to take in. For me, it is truly amazing that this film was helmed by a first-time director. There's confidence and clarity in the way the audience is carefully guided through the various environments of the film, and it's obvious (though not overbearing) that, again, no detail – visual or aural – was overlooked. The principle players particularly bring real weight and believability to their characters, and for me they conveyed a sense of familiarity, a feeling of real life that rang true, even though I thankfully haven't had to experience the majority of what these people go through. The film leaves you with many things to think about – valuable things – and reason to empathize somewhat with someone that maybe you wouldn't have given much thought to a little less than two hours before.