In the rapidly changing world of Hollywood, where each film tries to outdo the last in moral grandstanding and woke messaging, "The Takeover" stands as a glaring example of what’s gone wrong with modern cinema. Released in 2023, this film flopped quicker than a broken boomerang thrown into a strong wind. Directed by Annemarie van de Mond, and produced in the ever-iconic Amsterdam, it was meant to captivate audiences with its tech-thriller adventure, but instead, it captivated them with mind-numbing political correctness.
This film tried to weave a narrative of a hacker portrayed as a Robin Hood-esque figure who battles the evils of capitalism and corruption. Yes, that always-original villain — capitalism. The problem with "The Takeover" is that it was desperately chasing current trends that have become the hallmarks of Hollywood's virtue-signaling brigade, while forgetting to actually entertain audiences. The movie tripped over its own sanctimonious messaging, assembled with predictable tropes, and predictable outcomes from start to finish. It's like seeing the same politically charged student theater performance, just with a bigger budget.
Characters in "The Takeover" seemed less like real people and more like caricatures designed to tick off boxes on a superficial diversity checklist. Leading the charge is an improbably perfect protagonist with a righteousness level high enough to make Boy Scouts and Girl Guides look like criminal masterminds by comparison. This character, caught in situations lifted from every other technology-themed thriller, tackles crime not just with a laptop, but with a message as subtle as a megaphone at a funeral. And what message would that be? Why, that the system is rigged against you, the little guy. How novel.
One of the crowning disappointments of "The Takeover" was its inability to balance a compelling storyline with its desires to preach. Instead of allowing the suspense to unfold naturally, the plot was constantly interrupted by paeans to the dangers of Big Tech, privacy breaches, and the looming presence of evil corporations. The writers spent so much time wagging their fingers at political issues that they forgot to tell a riveting story. Does anyone go to the movies to be lectured? Perhaps that's the problem; they forgot their audience isn't a lecture hall of college juniors eager for a professor's approval.
The formulaic approach didn't stop at the story, it extended to the film's emotional beats. Each scene felt artificially manufactured to provoke a concocted emotional reaction. It's as if every decision in the film was made after consulting an algorithm that calculates the most socially acceptable outcome rather than the most daring and original one. So much for art for art's sake!
Special effects and stylistic choices follow the same overused patterns you've seen in any thriller from the last five years. I'll say this for "The Takeover", it sure lives up to its name by taking over our screens with another serving of ideological recycling. Gone are the days when Hollywood blockbusters would push boundaries with revolutionary storytelling and groundbreaking effects. Instead, they choose to push the same old agendas wrapped in shiny new packaging.
Ironically, there's an unexpected "technical error" throughout: the makers forgot that audiences crave escapism through movies, not the same tired political indoctrination the news bombards them with daily. When the average viewer pays for an escape into another world, they're most likely hoping to find dynamic characters and exciting plots, not a remake of last night's lecture. "The Takeover" neither entertains nor educates; it placates with clichés.
Despite low box office returns, "The Takeover" will likely garner applause from circles where message supersedes merit. Critics often shower praise on such films for their bravery in addressing important issues with all the finesse of a sledgehammer. But outside these insular circles, where viewers are just fine with movies being profitable and fun, the reception remains brutally honest.
It's worth pointing out that this flop is more than just about one film. It's indicative of a Hollywood that no longer feels the need to reach beyond its echo chamber to create universally appealing stories. Instead, it churns out one flavorless, politicized project after another and acts surprised when moviegoers turn elsewhere. The curtain's down, but not before the audience has left the theater.
As long as filmmakers focus on crafting narratives more focused on ideology than entertainment, Hollywood will continue struggling to reclaim the charm of its golden era. Until then, grab your popcorn, but maybe pick something else to watch. Unless, of course, you're in the mood for another sermon.