The comeback of Minnie Driver! (Who knew she’d ever been here?) Life used to be a cabaret, but now it’s an intersection, my friend. In the atrocious, oppressive slab of unearned miserablism written and directed by Charles Oliver, “Take,” Driver’s Ana, a single mother of a developmentally disabled boy, crosses paths with a loser, Saul (Jeremy Renner, “28 Weeks Later,” “The Assassination of Jesse James by The Coward Robert Ford”) and they live their lives in parallel tracks of redemption and crime. Working in a visual style devolved from both Soderbergh and Gonzalez Inarritu, Oliver’s confused editing is matched by his confounding apparent empathy for both murderers and the amply deluded. Even more than what’s stashed and moldering in Ana’s trunk, the ending is horseshit. 99m. Widescreen. (Ray Pride)
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