‘Take Me’ reviews

Here are some ‘Take Me’ reviews

From Variety

What ensues is a game of cat-and-mouse in which the reality of Ray and Anna’s situation becomes increasingly fuzzy, both to audiences and, at various points, to Ray and Anna as well. Ray begins as a self-assured schlub, but as circumstances spiral out of control, he starts projecting confidence as a means of staving off panic, if not outright terror (“I’m very good at what I do,” he repeatedly remarks, less convincing each time). Healy embodies his well-intentioned loon with just the right measure of buffoonish arrogance and pitifulness, and he’s ably matched by the equally alluring and intimidating Schilling, whose Anna vacillates so wildly between pleading victim and dangerous threat that it’s never quite clear what’s genuine and what’s an act.

Healy’s direction is similarly to the point, its unassuming compositions and curt edits enhancing the proceedings’ droll brusqueness. Heather McIntosh’s bouncy score is laced with darker tones, thereby providing suitable musical accompaniment for a tale that dive-bombs into that hazy gray area between terror and comedy. By ordeal’s end, its harried characters may not know which way is up, but “Take Me” maintains throughout a firm grip on its farcical absurdity.

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More reviews after the jump


From AwardsCircuit

The best part of “Take Me” is Taylor Schilling’s performance. She manages to keep you guessing the whole time whether she’s telling the truth or not. Her best work outside of “Orange is the New Black” by far, Schilling is utterly watchable, no matter what mood she’s reflecting. Healy is solid too, though far better with the comedy elements than with the thriller ones. The supporting cast is barely there, so this is very much a two hander. Healy and Schilling play off of each other well, even if the latter grabs your attention more so than the former.

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From Talk Film Society

Take Me succeeds from having an excellent screenplay (coming from Mike Makowsky) that puts its characters front and centre, continually raising the stakes and refusing to compromise for the sake of convention. Being Healy’s directorial debut, the man clearly does an admirable job in constructing such an engaging narrative in addition to excelling from an acting standpoint as Ray. Just as well, its interesting to watch Schilling’s Anna move from being a helpless figure to one taking action against Ray’s exploits (some of which turn near-fatal), and its a testament to her range as a performer when we see what lengths she’s willing to go through.

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From mxdwn Movies

Take Me is a study in economic filmmaking. It’s the latest film produced by The Duplass Brothers, who have made a name for themselves by cranking out films with minuscule budgets at a remarkable pace. While the results have been uneven, the Duplasses have always seemed to understand that you don’t need money to make a film worth watching – you need a solid hook and strong characters. Take Me has both, and while it’s not exactly hard to figure out where the whole thing is going, it’s a fun twisted little ride getting there.

Take Me is a great example of storytelling within means. In his first feature-length work, screenwriter Mike Makowsky has created a narrative of such refined scope, that it never feels like its pressing up against its tiny budget. The lion’s share of the film consists primarily of Healy and Schilling in isolated locations, but the two have such dynamic chemistry and the writing is tight enough that the film never sags. Healy gives a surprisingly nuanced performance, playing Roy as something of a sheep in wolf’s clothing until the escalating situation reveals some of the darker side of his inner nature. Schilling plays the damsel with just enough edge and ambiguity to keep things interesting even if there’s very little in Take Me that’s truly unexpected.

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From Entertainment Voice

“Take Me” allows Schilling a real chance to shine. Her performance remains consistently engaging to watch as she experiences a rollercoaster of emotions that seem to switch on the flip of a dime – and she is more than capable. 

The tug-of-war toss-up between Anna and Ray leads them to his parents’ remote cabin, which delves into the secrets that reveal Ray’s motivations. The story, penned by Mike Makowsky, is a constant guessing game – remaining consistently entertaining, smart, and witty until the very end.

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From RogerEbert.com

“Take Me” could work as a play, since it only features two characters in two locations (he eventually moves her out to his family’s empty summer house). It’s an extended screwball situation, involving two kooky people having a terrible shared adventure, rife with misunderstandings, mistaken identities, possible police involvement, physical stress … all of the things that make up your classic screwball. Screwball, a precious genre, is practically a lost art. “Take Me” has some similarities with Charles Hood’s 2015 film “Night Owls,” an extremely entertaining story about two people holed up in a house, one against her will. Like “Night Owls,” “Take Me” has two extremely talented actors playing out their chemistry and hostility and vulnerability, moment to moment to moment. You never know how it will turn out.

For all its lunacy and chaos, screwball requires a delicate touch. It’s situation-based, for the most part, but it requires more than just “situation,” it needs engagingly absurd characters. “Take Me” presents a truly horrendous story, if you think about it for more than five seconds, even if Anna St. Blair signed up for it. The film lives or dies on the chemistry of the two actors, and Healy and Schilling are so good together that the film appears to almost play itself (quite a feat). With an extremely funny script by Mike Makowsky, “Take Me” rides the waves of a simulation scenario gone haywire.

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From Starburst Magazine

From A kidnapping farce in the tradition of Ruthless People and Fargo, combined with the Dominant/Submissive thrills of Tie Me Up, Tie Me Down or A Life Less Ordinary, Take Me is the latest directorial feature of popular Indie actor and personality Pat Healy. Working from a script by Mike Makowsky, he delivers a clever, fun and charming little black comedy, and an incredible two-hander with co-lead Taylor Schilling. As Ray and Anna, the pair are delightfully free of ego; Healy looks ridiculous in a stupid wig and self-consciously ‘hard’ leather jacket, and his wet Ray is depicted as a frequently pathetic man, likeable only in his failures and can-do attitude. Schilling, meanwhile, trades in the jail cell for an even more humiliating form of captivity, spending most of the movie tied and gagged with the full range of Ray’s bondage accoutrements. Schilling acquits herself wonderfully here, in this cheerier version of The Disappearance of Alice Creed, jumping from fiery to terrified and broken at a moment’s notice. This is a film, which would live or die on the chemistry of its leads, and thankfully, Healy and Schilling are more than up to the task. Even better, it doesn’t feel the need to turn itself into a romantic comedy during the back half, keeping the pair’s wonderfully antagonistic relationship on the hot coals right up until the end.

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From The Hollywood Reporter

Ray’s latest client is to be Anna St. Blair (Schilling), an executive who interviews Ray by phone for the job and insists that he make one exception to his usual policy: If he’ll slap her around while she’s in his custody, she’ll pay much more than his usual fee. Considering the woeful state of his bank account — his sister is hounding him to shut the disgraceful business down — he agrees. He stalks St. Blair from afar, learning her routines, then kidnaps her as promised. Then things start to go wrong.

In the two-hander action that results, the balance of psychological power shifts back and forth between captor and client. Working with a sharp script by Mike Makowsky, Healy refuses to let us know what to believe. Is Ray actually inept at what he does, his act as shoddy as the hairpiece he wears? Is St. Blair somehow related to the incident that derailed Kidnap Solutions’ early success? And what happened there, anyway? Healy and Schilling enjoy a fine rapport, letting antagonism shift toward empathy and back again. The sometimes caustic banter and the pic’s will-he-get-caught tension makes this one suspense film in which being able to guess the end doesn’t spoil the fun.

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