The Disappearance of Alice Creed Had Me on Edge

      Now, when you kidnap a person you have to be well-equipped; the room must be discreet looking, the walls covered with padding, a comfy bed, handcuffs attached to the bed, a bucket for the victim to do their business in, several cell phones, just in case the call is traced, and lets not forget, a professional attitude. The first twenty minutes of The Disappearance of Alice Creed is about the complex process and hard work in kidnapping a person. It’s kind of like making a movie; the set has to be totally ready, and everyone has to be on their marks before the cameras roll. 
      If a film theorist or critic ever created a subgenre, specifically for kidnapping, The Disappearance of Alice Creed would fit the criteria, and only that criteria. This is a lean, mean, take-no-punches kidnapping-ransom thriller; all the unnecessary fat is trimmed off. The film’s principal storyline reminded me of Fargo (1996), but Fargo was about more than the kidnapping. Much more! Fargo, one of the best films of the nineties, captured the quirky nature of the Minnesotan attitude, combined with a ferocious dark humor and ingenious character portrayals. 
      The Disappearance of Alice Creed takes place in England, but this straight-forward story could’ve taken place anytime, anywhere. However, this itty-bitty kidnapping caper is entertaining from beginning to end, even if it only involves three characters. Without giving too much away, I will say this, majority of the film is told from the kidnappers's point of view. We never know for sure if the police are involved or how the ransom is paid. Think of the rendezvous warehouse in Tarantino's Reservoir Dogs (1992). The focus of the film is the dynamics between the kidnappers and the victim, Alice Creed. Unlike Tarantino’s jumpy, yet brilliant narrative structure in Reservoir Dogs, Disappearance doesn’t have any flashbacks or narrative tricks up their sleeves. Like I said, this film is lean and mean, with a few genuine plot twist. 
      The primary goal is to bring out the terror of the victim, put the audience in her shoes, and believe me; we are with her one hundred percent. Some of the twists and turns are a little unrealistic, but what can I say, this is a movie, and sometimes a movie needs the necessary developments to keep the momentum flowing and the suspense building. Perhaps the entire film could’ve benefited more as a greater subplot for a more ambitious and complex narrative, but for what it was, it had me on the edge of my seat, from beginning to end. 


*** (out of for stars)