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You could be easily forgiven for suspecting that Unknown is merely an unofficial sequel to 2009's surprise hit Taken. The trailers depicted a formidable Liam Neeson manoeuvring the back alleys of a European city full of unsavoury characters who need an ass-kicking. Yet, this is not Taken 2. With Unknown, director Jaume Collet-Serra (Orphan) and his writers (adapting the novel Out of My Head) have produced a thriller paying homage to the likes of Alfred Hitchcock, Orson Welles, John Frankenheimer and other directors who enjoyed putting a conventional everyman through the wringer. More or less an amalgam of The Bourne Identity and The Fugitive, 2011's Unknown may remind you of other films, but it does not recycle much in terms of narrative twists; pulling together a unique, original story that's sufficiently intense, bursting with intrigue and capable of withstanding scrutiny.
With the intent of attending a biotechnology summit, Dr. Martin Harris (Neeson) arrives in wintry Berlin with his beautiful wife Liz (Jones). Realising his important briefcase was left at the airport, Martin takes a taxi back to retrieve it but becomes involved in a near-fatal car accident along the way. Upon waking up from a coma four days later without his ID or passport, Martin's memory is foggy. Leaving the hospital against his doctor's orders, Martin finds that the world has ostensibly rejected him - Liz denies his identity, while another man (Quinn) claims to be the "real" Martin Harris and has the paperwork to prove it. Upset, disorientated and frustrated, Martin hits the streets to uncover what seems to be a conspiracy, hiring the investigative skills of a former Stasi agent (Ganz) while searching for the taxi driver who was with him at the start (Kruger) to help solve the mystery.
Perpetually keeping the suspense and intrigue quotient high is the utter hopelessness of Martin's situation, and his bewilderment that's forcing him to second-guess everything, including his own sanity. For a premise like this, we can only accept the concept as long as the writers have a legitimate explanation up their sleeve, and as long as the thrills can keep us engaged. Unknown delivers on both counts. The film is not as action-packed as Taken since it is more of a restrained thriller than a brainless action fiesta, but there are a few exhilarating set-pieces throughout leading to the final nail-biting climax. As for the central riddle, the filmmakers did a great job of guarding it. Minor clues are scattered throughout the picture pertaining to what is actually happening, but the twist is hard to figure it out. And when the final reveal arrives at long last, it is well-judged. While a lot of potentially premise-destroyed questions arise throughout Unknown, the eventual explanation deals with them all. However, it's a tad disappointing that the film succumbs to the "I tell you everything before I kill you" cliché.
The proceedings of Unknown unfold in Berlin, unlike the book. It was a smart creative decision to set the film in Berlin - to outsiders, the city is cold and forbidding. There is a vague whiff of Cold War mystique compounding the inherent unease of Martin's situation. By shooting in Berlin, more tension is automatically afforded to the atmosphere. Technical contributions in this respect are solid - Flavio Martínez Labiano's cinematography is icy and crisp, and it sets an impeccable atmosphere that's heightened by the tense score by John Ottman and Alexander Rudd. Director Collet-Serra also managed to keep even the most mundane happenings interesting, with early scenes being pervaded with an intense, engrossing vibe (for instance, the scene in which Martin first confronts his wife after the accident is riveting). The only technical downside is a tendency to rely on contemporary "shaky-cam/rapid-fire editing" techniques for the action, which can be disorientating. There are one or two occasions when the geography of a scene is poorly established, and these techniques exacerbate the confusion.
Liam Neeson is an inherently authoritarian screen presence. He is the point of identification, and his acting gravitas provides weight to what could have been a forgettable thriller. Neeson is in Taken mode here, which is to say he's more of a traditional action hero. With that said, though, his acting talents are better used here - he was more of a blunt instrument in Taken, whereas in Unknown his abilities are stretched for the drama of the story (though to be fair, he is an awesome blunt instrument). Alongside Neeson, January Jones' performance as Martin's wife is extremely blank, and Aidan Quinn carries out his duties well enough in the role of the other Martin Harris without being spectacular. At the other end of the spectrum, Diane Kruger, Frank Langella and Sebastian Koch fare a lot better, while Bruno Ganz is an utter scene-stealer as the former Stasi agent who agrees to help Martin. Ganz's brilliant scenes seem to have been pilfered from another, smarter movie. While that may sound like a bad thing, it improves Unknown's overall dramatic weight and scope, though it's unfortunate the film built around these scenes is not quite as mature as them.
Unknown is smart, diverting entertainment. It is well-plotted, with a story that allows for plenty of intrigue and a few nice action scenes, not to mention some tantalising foreshadowing and clues that add texture without explicitly giving away the final reveal. Sure, the film remains mainstream in the way it leans on Hollywood conventions to see it through and deem it marketable, but it's smarter and more thoughtful than your usual slice of action-thriller entertainment.
7.8/10
