Kidnap

Despite having spent some time on the shelf, this thriller is far from a dud; it's surprisingly gripping, as well as relentlessly suspenseful, and it takes only a few not-too-bright shortcuts. Kidnap begins with a series of home movies, watching little Frankie grow up from babyhood, with the voice of his mama cooing at him. It's a simple device, but it conveys the depth of Karla's love and dedication to her son. Add that to the threat of losing custody, and we're off. Kidnap's fast pace and spare, streamlined approach recalls classic thrillers like The Fugitive and Speed.

Spanish director Luis Prieto brings several fresh angles to his chase movie -- edits timed to the beating of a heart, tilted angles, and close-ups crossed with wide-angle shots -- all in an attempt to keep the viewer's adrenaline spiked. The sound design is likewise clever and creative, deliberately holding back on pounding music and using sounds of the road (tires screeching, gravel crunching) to heighten tension. The backwoods-bumpkin bad guys played by Lew Temple and Chris McGinn are scary and nasty, and Berry proves her talent and star power by performing largely alone -- and extremely effectively.