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In retrospect, it’s remarkable how long a shadow Taken has cast. It’s been 14 years since director Pierre Morel redefined Liam Neeson’s place in cinema with his 2008 film, which cast the dramatic actor against type as an ex-CIA operative and combat powerhouse. Since then, too many action films starring Neeson have followed the steps of a familiar dance. His peaceful domestic life is shattered when something is taken from him: His daughter is kidnapped (Taken), and so is his ex-wife (Taken 2), who’s then murdered in Taken 3. Or his son is murdered (Cold Pursuit), he loses his job (The Commuter), or his family moves on without him (Unknown). In each case, a long-buried history of clinically effective violence is unearthed, and for about two hours, Neeson makes the criminal element sorry they ever thought picking on a guy in his 60s would be easy. Memory is the latest of these films, and at first, it seems like it’s capable of subverting the formula. Then it slowly settles into tired mimicry.