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NH10 received highly positive reviews from critics, with particular praise directed towards Sharma's performance.[53] Anubhav Parsheera of India Today called NH10 a "gripping" film that "provides a rare perspective of the female".[54] Others called it "a non-stop, relentless, edge-of-the-seat experience"[55]and a "taut and riveting thriller [that was] eminently watchable".[56] Rajeev Masand wrote that the film is a "standard genre movie on the surface" with layers of "rich subtext" that delivers "so much more than your average thriller". He also complimented Sharma's performance, saying she "sinks her teeth into the character".[57] Saurabh Dwivedi of India Today labelled the film "a very important film of today's times" and a "cry of protest against patriarchy".[58]


Contrasting with the highly positive reviews, Shubhra Gupta wrote that Sharma's character was not believable; "Meera, dragging a sharp bhala on the ground, with the soundtrack helpfully amplifying the sound, does not leave me cheering".[63] Faiza S Khan of The Guardian called the film "a misogynistic slasher movie with a topical twist".[64] Rohit Vats of Hindustan Times stated that the film's second half "lacks the same fluidity and penetration power" as the first half, saying,"NH10 displays a great potential and then fails to capitalise on it".[65] Sukanya Verma of Rediff.com called the film a "compelling thriller" but said the climax is a "letdown".[66] Deepanjana Pal wrote that the film has stereotypical rural characters, but praised Sharma's performance, writing, "NH10 was not an easy film to make and it isn't an easy film to watch, but give it five minutes, and it will suck you into its menace-riddled story".[67]


After racking up a daunting body count in both France ("Taken") and Turkey ("Taken 2"), the destructive Mills family (who really should consider going into the witness protection program, not only for their own safety, but for ours) turn their sights on the sunny freeways of their home town, Los Angeles, in "Taken 3". Starting with the unimaginative (and, as it happens, incorrect) title, "Taken 3," directed by Oliver Megaton, is both lazy and tremendously overwrought. Anchored, as always, by a sincere performance by Liam Neeson, as well as the additional gravitas provided by Forest Whitaker as the police officer tracking Neeson down, the film pulses with indifference. "Taken" and "Taken 2" were preposterous, but entertaining: care had been given to the plot as well as the filming so that they worked as thrillers. Many didn't care for the sequel, but I liked it a lot, especially the cinematic use of the architecture in Istanbul, which showed a real understanding for how action happening in a very specific landscape can be exciting and suspenseful. "Taken 3" doesn't want to take the time to set things up carefully or clearly, so that while you can perceive that you are on the highway out to Malibu, or careening along the 405, the film doesn't use the specific landscape or architecture to help tell its story. It's just a frantic, flash-cutting frenzy. Even the slower, more intimate family scenes feature so ma