Tożsamość

It annoys me that Unknown doesn’t allow viewers to form bolder hypotheses (the provided information can hardly be taken as an inducement to look for a double meaning) and to think more than is necessary to understand the elementary narrative causality that Serra gets by with throughout the film (go to character A, find out what you can and, based on that, move on to character B). At the same time, I like the fact that the simplicity of the plot makes it possible to focus fully on the usual genre treats (intensification of the WTF?! moment, the raw and brutal fistfights, the protagonist’s orientation – or lack thereof – in an unfamiliar environment) and on Neeson’s reserved acting, which superbly serves the purpose and overshadows the performances of all of the other actors. If you lower your standards appropriately and don’t give too much thought to how Polanski, let alone Hitchcock, could have made something much more intense from the same material, you won’t be too saddened by the degenerate denouement. 65% (15.04.2011)

Unknown doesn't come up with groundbreaking or new. By unraveling the puzzle surrounding the main character's identity(ies), it additionally brings back into play one recent fashion wave, BUT... Jaume Collet-Serra proves once again, after the brilliant Orphan, that his first film was a necessary evil for its time in order for him to enter Hollywood, and only now can he show what all is brewing within him. I won't lament the plot, which again follows a template that has been seem many times. Serra has a way with actors that is absolutely perfect, and his baby works especially when he’s playing the paranoia card. The ending, however, offers something that has not failed to amaze me of late. That something is the current acting position of Liam Neeson, who, on the verge of sixty, has switched to the role of uncompromising action hero who hides under the guise of civilian ordinariness, only to shoot accurately and deliver a hard hits at the right moment. His ruthless charisma permeates the entire film and makes you forget that it doesn't fit the logic in places. PS: The extremely kind Arab sheik and a former Stasti member as positive characters? :) (27.05.2011)

Liam Neeson is an absolute legend—I’m convinced now. At 60, he’s owning action roles like no one else in the game, which is something I never expected from him. Anytime he’s on screen, you can count on his charisma stealing the show. And Unknown is no exception. Beyond Neeson’s performance, the story is another highlight. It’s a slick spy thriller that flows perfectly, packed with twists that genuinely impressed me. In fact, I’d go as far as to say this is one of the best spy thrillers I’ve ever seen, if not *the* best. Sure, there are some predictable moments, but honestly, I don’t care. If I wanted to overthink a movie, I’d choose something else. This one wasn’t about making you think—it was about entertaining and surprising you, and it totally delivered. (30.08.2011)

A step backwards from Orphan, though it looks very promising at the beginning. A Hitchcockican hero with the world turned against him wanders around in snowy Berlin, trying to figure out who he is. And when he does figure it out, everything goes to hell. A decent thriller, but it had a lot more potential. (31.05.2011)

Amnesia, Berlin in winter, secret agents, car chases, a cold femme fatale, an Arab sheikh, a trustworthy and likeable woman taxi driver, a brilliant scientist, powerful people pulling the strings behind the scenes, hit men, an unexpected twist. And also a great cast. It’s all here, but only in a recycled and somewhat overdone form. In his previous Orphan, Jaume Collet-Serra managed to shake up some genre clichés, but that doesn’t happen here. The film’s only memorable scene is the chilling encounter between the excellent actors Bruno Ganz and Frank Langella. (01.05.2011)