A Critical Review of “The Kidnapper”
Xu Jinglei, a highly acclaimed and multi-talented figure in Chinese cinema, has long captivated audiences with her diverse creative pursuits, spanning acting, directing, and even blogging. Her memorable performance in films like “Go Lala Go!” cemented her status as a revered artist. It was with significant anticipation, therefore, that this reviewer approached her directorial effort, “The Kidnapper,” a thriller whose premise immediately piqued curiosity.
Upon finally settling down to watch it, the ensuing 95 minutes unfolded as a competently executed film—neither remarkable enough to elicit fervent praise nor disappointing enough to warrant harsh criticism. It occupied a curious middle ground, prompting the thought that the invested time could have been equally, if not more, rewarding had it been spent on simply getting a bucket of popcorn and exploring another cinematic offering. This sentiment suggests a film that delivers on its basic promises, yet perhaps without leaving a truly lasting, impactful impression.
Plot Outline and Narrative Velocity
The film features a commendable cast, including well-known and familiar actors such as Bai Baihe, Huang Lixing, and Ming Dao, whose established presence and acting chops are readily apparent from the outset.
At the core of “The Kidnapper” lies a high-stakes, albeit somewhat convoluted, premise. We are introduced to Lin Wei (portrayed by Bai Baihe), a resolute female police officer from a city’s Serious Crimes Unit, whose life is shattered when her young daughter is abducted. The sole lead points to Yang Nian (played by Huang Lixing), an enigmatic figure who, conveniently for the plot’s progression, is found suffering from amnesia after a dramatic car accident. What follows is an unlikely alliance as they embark on a joint quest: Lin Wei desperately searches for her missing child, while Yang Nian endeavors to reclaim his lost memories. Remarkably, amidst this intense, high-stakes ordeal, a romantic connection unexpectedly blossoms between them, adding another unexpected layer to the narrative tapestry.
While the nuanced performances of the leads are certainly noteworthy, this review primarily zeroes in on what is arguably the most critical element for a crime thriller: its narrative pacing. In action-oriented genre films, the rhythm and flow of the story are paramount. Lingering shots, deliberate slow motion, or stagnant sequences can quickly disengage an audience accustomed to dynamic storytelling. The key to successful engagement, then, lies in establishing an immediate, compelling hook that draws viewers into the unfolding drama from the very first moments.
“The Kidnapper” largely succeeds in this regard, particularly with its electrifying opening scene. The film thrusts the audience straight into a violent car crash, which is immediately followed by the shrieking sirens of approaching police vehicles. Amidst the chaos, Officer Lin Wei frantically rushes to the wrecked car, her voice raw with desperation as she confronts the injured suspect, “Dian Dian, where is she? Where is my daughter?!” This explosive beginning immediately alerts the audience to the grave situation – the kidnapping of Officer Lin Wei’s daughter – signaling the high stakes and the emotional turmoil at play.
The scene then seamlessly transitions to a hospital setting, where Lin Wei receives grim news from the attending physician: the suspect has amnesia, and his recovery is uncertain. Lin Wei’s subsequent outburst, directed at the doctor, vividly portrays the palpable worry, gnawing anxiety, and profound frustration of a mother consumed by the loss of her child. This emotional intensity immediately piques the audience’s curiosity: With the prime suspect suffering from memory loss, what hope remains for the abducted child? This question, imbued with the protagonist’s palpable anxiety, creates an irresistible pull, compelling viewers to stay engaged and unravel the mystery.
Within a mere three minutes, the plot takes another sharp turn as a “thug,” cunningly disguised as a doctor, attempts to assassinate two police officers guarding the suspect. In a swift counter, Yang Nian, despite his injuries, impressively neutralizes the assailant and manages to escape. A kidnapped child alongside murdered police officers – these are unequivocally major events that infuse the narrative with immediate, gripping tension. All these pivotal developments are unveiled to the audience in an astonishingly short span, complemented by intense fight sequences that, while not explicitly gory, convey a clear sense of raw violence. This ambitious and action-driven opening sequence truly evokes the feel of a high-octane Hollywood blockbuster.
What follows is a relentless succession of intense chases, driving the plot forward at breakneck speed. Yang Nian is ostensibly searching for his memories, while Lin Wei is relentlessly pursuing him, creating a dynamic cat-and-mouse game that keeps the audience in constant suspense, following their every move.
At the 39-minute mark, Yang Nian encounters “Brother Lei,” the film’s primary antagonist,
leading to another riveting fight scene. This sequence brilliantly showcases Yang Nian’s almost superhuman capabilities as he takes on more than a dozen adversaries alone, his heroic nature shining through the chaos.
Propelled by this momentum, the 52-minute mark sees a dramatic shootout erupt on a private yacht, turning the serene waters into a deadly battleground. Gunfire echoes as lives are swiftly extinguished, adding another layer of danger and intensity. Just two minutes later, at 54 minutes, “Brother Lei’s” car explodes in a fiery, spectacular blast, an unambiguous sign of escalation.
Further intensifying the suspense, a scene at the 72-minute mark features a menacing thug breaching an indoor location and engaging Yang Nian in a brutal fight. This particular confrontation, with its claustrophobic tension and sudden eruption of violence, subtly evokes the terrifying, unexpected brutality reminiscent of Marion Crane’s iconic shower scene in Hitchcock’s “Psycho.”
The climax builds toward the 84-minute mark, where Officer Lin Wei finally confronts the mole within the Public Security Bureau, “Lu Ran” (played by Ming Dao), in a major battle unfolding on a rooftop. In a move characteristic of Hollywood blockbusters, the “bad guy” is afforded a final speech before their inevitably tragic end. This narrative device often allows the villain to articulate their true feelings, shedding light on the circumstances that led them down a path of evil, often with a hint of belated regret or a warped sense of justification, asserting human nature’s inherent goodness. In this movie, during the climatic confrontation between Lin Wei and Lu Ran, the latter tragically explains his motivations and expresses his profound regret at his choices, too late to alter his grim fate.
At 85 minutes, Yang Nian intercedes decisively, shooting Lu Ran in the back, bringing the intense showdown to an abrupt end. Then, at the 88-minute mark, a significant revelation reshapes the narrative: Yang Nian’s true identity is unveiled as an undercover agent, making his extraordinary skills and unyielding resolve entirely comprehensible. Far from being a mere suspect, he emerges as a true hero, deservedly recognized at a public commendation ceremony.
Beyond the specific twists and turns of its narrative, the film’s ability to maintain a tight grip on its audience through meticulously controlled pacing is commendable. The only significant drawback lies in Lu Ran’s character arc. His motivation for turning villainous—saving his sister from financial destitution—feels somewhat underdeveloped and lacking in genuine gravitas. While compassion for a sibling is a strong emotion, the numerous alternative solutions that could alleviate money problems render his descent into unforgivable villainy slightly unconvincing. Moreover, the groundwork for his betrayal is not sufficiently laid in the earlier stages of the film, weakening his impact as an antagonist.
Concluding Thoughts
“The Kidnapper” offers a moderately engaging viewing experience, particularly for those who haven’t extensively delved into the broader landscape of modern thrillers. If you are new to complex narrative structures found in films like the Indian thriller “Andhadhun,” the Spanish psychological gem “The Invisible Guest,” or even the impactful American action film “Wrath of Man,” then this movie might genuinely surprise and entertain you.
However, for a viewer well-versed in these benchmarks of the genre, the experience might be less groundbreaking. Those who have been consistently exposed to the clever twists and turns, coupled with deep character motivations, prevalent in such critically acclaimed features might find themselves hesitating when assigning “The Kidnapper” a higher rating. Achieving a top score becomes a considerable challenge when placed against such formidable predecessors.
Despite a respectable Douban rating of 4.8, this reviewer personally leaned towards a 5, an admittedly slight bump, primarily out of affectionate support and admiration for Xu Jinglei’s continued work and dedication. It’s an acknowledgment of her efforts, even if the film doesn’t wholly transcend the genre’s common pitfalls.
Ultimately, a film is a collaborative artistic endeavor. It is genuinely unfair to isolate and critique any single individual—be it the director, writers, or actors—given the complex interplay of their collective contributions. To reiterate, the narrative pacing of “The Kidnapper” stands out as a particularly well-executed element, perhaps its strongest asset in delivering a cohesive, if somewhat unexceptional, cinematic thrill ride.
