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That’s the setup, and it’s enough. If you thought no one could rescue their imperiled loved ones better than Liam Neeson, you’re very much mis-“Taken.” Let’s just say that to watch as Johnson climbs an enormous crane and flings himself into a burning building is to fulfill a need you may not realize you had. Never mind that he does all this while managing a prosthetic leg — which, far from impeding his superhuman abilities, seems to have only enhanced them in ways best left for the viewer to discover. Dwayne Johnson and Rawson Marshall Thurber on ‘Skyscraper’ and the state of Hollywood » The discovery of several unexpected uses for detachable limbs is scarcely the least ingenious of this movie’s borrowing-and-repurposing gambits. As written and directed by Rawson Marshall Thurber, “Skyscraper” rips whole chunks out of “Die Hard,” “The Towering Inferno,” “Cliffhanger,” “No Escape” and the Burj Khalifa sequence from “Mission: Impossible — Ghost Protocol,” tossing them together like so much narrative kindling. You might also wish that Thurber had also set fire to his copies of Robert McKee’s screenwriting manuals while he was at it, though the thuddingly obvious setups and payoffs are undoubtedly part of the fun. Among other things, “Skyscraper” offers a useful reminder that you should never tune out during the casual husband-wife banter at the beginning of a movie like this. It may sound strained and banal, but it’s chock-full of future problem-solving secrets. Nothing brings an international audience together quite like the sight of Dwayne Johnson swinging like Tarzan from floor to blazing floor… Add in piles of Chinese production money (the movie was co-produced by Legendary Entertainment, a subsidiary of the Dalian Wanda Group) and a few Asian-born actors (Byron Mann, Hannah Quinlivan) in roles that run the gamut from serviceable to negligible, and you have a prime specimen of multiplex globalism. As suggested by the numerous stunned reaction shots from Kowloon locals on the ground, nothing brings an international audience together quite like the sight of Dwayne Johnson swinging like Tarzan from floor to blazing floor — a glorious, ridiculous spectacle that cinematographer Robert Elswit and his swinging camera amplify to pleasurably vertiginous effect.
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