The Marksman (2021)
Former United States Marine Corps Scout Sniper and Vietnam War veteran Jim Hanson (Liam Neeson) lives on a ranch on the Arizona-Mexico border. The mortgage on the property is in arrears after the death of his wife has left him medically bankrupt. One day while patrolling his property he encounters Mother Rosa (Teresa Ruiz) with her son Miguel (Jacob Perez) illegally crossing the border fence. He calls his step daughter Sarah (Katheryn Winnick) in the border patrol and reports them as they’re miles from any habitation. However, Rosa and Miguel are fleeing a drug cartel and Mauricio (Juan Pablo Raba), one of their enforcers. When Mauricio and his men try to forcibly take Rosa, Jim intervenes and a car chase and firefight ensue. Mauricio’s brother is killed and Rosa is fatally wounded. She gives Jim a note with her family's address in Chicago and he reluctantly agrees to take Miguel there.
Former United States Marine Corps Scout Sniper and Vietnam War veteran Jim Hanson (Liam Neeson) lives on a ranch on the Arizona-Mexico border. The mortgage on the property is in arrears after the death of his wife has left him medically bankrupt. One day while patrolling his property he encounters Mother Rosa (Teresa Ruiz) with her son Miguel (Jacob Perez) illegally crossing the border fence. He calls his step daughter Sarah (Katheryn Winnick) in the border patrol and reports them as they’re miles from any habitation. However, Rosa and Miguel are fleeing a drug cartel and Mauricio (Juan Pablo Raba), one of their enforcers. When Mauricio and his men try to forcibly take Rosa, Jim intervenes and a car chase and firefight ensue. Mauricio’s brother is killed and Rosa is fatally wounded. She gives Jim a note with her family's address in Chicago and he reluctantly agrees to take Miguel there.
The various trailers and advertisements for The Marksman give the impression that this is an action film but that is not the case. This thoughtful, low key drama is far more of a character study of the relationship between Jim and Miguel. The film explores bereavement and loss, the plight of migrants across the US border and what happens when the “American Dream” turns bad. It bears a lot of similarities to Clint Eastwood’s A Perfect World (1993). Critics claims that the story is formulaic are indeed true and there are not many plot surprises along the way. However, the film’s strength lies in the two central performances which are both very good. There is genuine pathos as opposed to contrived sentimentality and again we are reminded that Neeson is a serious actor who reinvented himself as an action star. Plus it helps that Neeson can do “gruff” and “sad” with his eyes shut. He does much with the simple dialogue to establish his Rooster Cogburn credentials. “Nobody needs to call me, and I like it that way” he exclaims when asked why he doesn’t own a cell phone.
The Marksman is obviously made on a modest budget yet its cinematography by Mark Patten is handsome and makes the most of the vistas and scenery of Arizona and Wyoming. The film does a good job of conveying the immense size and often remote nature of the US border states. The action scenes are functional and do not strain the viewer's sense of credulity. Neeson is supposed to be an ageing Marine and not a special forces operative. He handles himself well in a fight but he also takes a beating. Everything of this nature remains within the confines of the film’s PG-13 rating which is fine as this is a story about characters bonding rather than breaking bones. Director Robert Lorenz has one final trick up his sleeve after teasing us with an action movie and giving us a character drama for 100 minutes. The ending, as Liam Neeson takes a bus to return home, is very reminiscent of Midnight Cowboy. It’s a little unexpected but in step with the film’s overall tone. The Marksman is by no means a masterpiece but is certainly better than its marketing campaign implied.
The Ice Road (2021)
Back in September 2017, Liam Neeson stated in an interview with Sky News that he was retiring from the action genre, due to his age. He felt that audiences would question his credibility in such roles. After the release of The Commuter (2018) and Cold Pursuit (2019) Mr Neeson appeared to return to human dramas and films that focus on performance rather than punching man and beast. Ordinary Love and Made in Italy, both released in 2019, demonstrate the actor’s versatility and skill. People seem to forget that he is a thespian who was initially known for his character driven roles in films such as The Mission (1986), Rob Roy (1995 and Michael Collins (1996). It was only in 2008 that he reinvented himself as an action hero. It’s all a far cry from Schindler’s List and his performance that earned him an academy award nomination. The reason I mention all of this is because The Ice Road is the third action movie I’ve seen in 2021 that stars Liam Neeson.
Back in September 2017, Liam Neeson stated in an interview with Sky News that he was retiring from the action genre, due to his age. He felt that audiences would question his credibility in such roles. After the release of The Commuter (2018) and Cold Pursuit (2019) Mr Neeson appeared to return to human dramas and films that focus on performance rather than punching man and beast. Ordinary Love and Made in Italy, both released in 2019, demonstrate the actor’s versatility and skill. People seem to forget that he is a thespian who was initially known for his character driven roles in films such as The Mission (1986), Rob Roy (1995 and Michael Collins (1996). It was only in 2008 that he reinvented himself as an action hero. It’s all a far cry from Schindler’s List and his performance that earned him an academy award nomination. The reason I mention all of this is because The Ice Road is the third action movie I’ve seen in 2021 that stars Liam Neeson.
After a methane explosion, a remote mine caves in northern Canada trapping 26 men. The mine owners desperately mount a rescue mission that requires a wellhead and piping to be urgently delivered to the site of the disaster. As there is no airstrip in the area that can accommodate military transport planes, the equipment has to be driven by truck across the ice roads which are beginning to thaw in the spring weather. A team is hastily put together consisting of three trucks. These are driven by Jim Goldenrod (Lawrence Fishburne) an ice road veteran, the hot headed Tantoo (Amber Midthunder) whose brother is trapped in the mine and brothers Mike (Liam Neeson) and Gurty McCann (Marcus Thomas). Gurty is a Iraq War veteran suffering from PTSD and aphasia as well as an exceptional mechanic. They are joined by Tom Varnay (Benjamin Walker), an actuary from the mine’s insurance company. Racing against the clock, the team soon discover that there’s more than just the weather working against them.
The Ice Road is written and directed by Jonathan Hensleigh and is his first movie for a decade. Hensleigh wrote several high profile films in the nineties (including Die hard with a Vengeance and Armageddon)and has often employed an uncredited “script doctor”. His directorial debut, The Punisher in 2004, was well received due to its intelligent exploration of vigilante genre and use of physical stunt work rather than CGI. His subsequent films have not fared so well. Both Welcome to the Jungle (2007) and Kill the Irishman (2011) were criticised for being derivative. Sadly that still seems to be the case. The Ice Road feels like a simplified version of Henri-Georges Clouzot's iconic thriller The Wages of Fear (1953) and (or) William Friedkin’s Sorcerer (1977). One scene even feels like it’s been cribbed from the classic Thunderbirds episode Day of Disaster.
However, that being said, the budget for this film is modest and so the set pieces are not excessive in that “Fast and the Furious” idiom. The scope of the action is quite contained, although somewhat implausible. The laws of physics are bent but not broken and the ice and weather do feel like a legitimate threat. The characters are leaning towards the generic, however the interaction between Neeson and his troubled brother played by Marcus Thomas, does make the story a little more interesting. The Ice Road fits comfortably within its PG-13 rating and doesn’t overstay its welcome like so many modern action movies do. Overall, this movie provides some mid tier thrills and can be entertaining if you accept the premise. It is better than equally stupid The Hurricane Heist (2018). Neeson does much of the heavy lifting, as per usual. Sadly Lawrence Fishburne, another watchable actor, doesn’t have as much screen time as he deserves.
Jeff Wayne's Musical Version of The War of the Worlds
I try and keep abreast of what's happening and going on, especially in those areas of interest to me such as movies, TV and gaming etc. Occasionally stuff passes me by that I subsequently discover at a later date, often to the refrain of WTF? A few years ago I was idly channel surfing only to discover that a seminal UK children's TV show from my youth, the Mr. Men, had been remade in a more contemporary idiom. Luckily, the source characters were still relatively unscathed, and the revamped show did a competent job in bringing Roger Hargreaves work to a new generation. Still, no one had told me and discovering this, in such a fashion was a bit of a surprise.
I try and keep abreast of what's happening and going on, especially in those areas of interest to me such as movies, TV and gaming etc. Occasionally stuff passes me by that I subsequently discover at a later date, often to the refrain of WTF? A few years ago I was idly channel surfing only to discover that a seminal UK children's TV show from my youth, the Mr. Men, had been remade in a more contemporary idiom. Luckily, the source characters were still relatively unscathed, and the revamped show did a competent job in bringing Roger Hargreaves work to a new generation. Still, no one had told me and discovering this, in such a fashion was a bit of a surprise.
Now I'm sure this is something we've all experienced at various points in our life. Often, we are more bemused by the fact that such a thing has happened without our being aware of it, rather than the specifics of the change. Frequently the matter is compounded by the fact that we have a strong sentimental attachment to that which has been altered, rebooted, re-imagined or generally messed with. Furthermore, surprise discoveries of this nature cause short periods of discombobulation. This phenomenon happened to me again quite recently. An innocuous chain of events, led to a surprise discover followed by a sense of shock, then incredulity and a lenghty string of profanities.
So what happened exactly? Well I had just downloaded a free Kindle version of H.G Wells science fiction novel, War of the Worlds. It is a literary classic and a good read after all. Because I am a man of a certain age, I have fond memories of Jeff Waynes' progressive rock, musical concept album from 1978. The mixture of spoken world, music and song left a big impression on me at the age of eleven. So, naturally my train of thought led me over to You Tube to quickly listen to a track or two from the aforementioned seminal recording. I idly clicked on The Eve of the War, expecting to hear the smooth baritone voice of Richard Burton as he narrated the introduction. Instead I suddenly became aware that I was listening to a completely different but not unfamiliar actor. The soft melodic Irish tones were unmistakable. It was Liam Bloody Neeson!
After my initial shock, I did some research to determine what was exactly going on. I discovered that the entire album had been re-recorded in 2012 under the revised title, Jeff Wayne's Musical Version of The War of the Worlds – The New Generation. This new album features more contemporary artists. Gary Barlow has replaced Justin Heyword, Joss Stone is covering Julie Covington and Ricky Wilson has usurped David Essex. All of this has come as something as a shock. However, on mature reflection I am not especially aggrieved by this change. It’s the same as when a new production of a famous stage musical is undertaken on Broadway or in the West End of London. A new cast brings a fesh perspective to the material and scope for alternative interpretations. I guess I was mainly flummoxed because I just didn't expect it and to find out in such a fashion.
Well it would appear that after the release of The War of the Worlds - The New Generation in 2012, a sumptuous stage show toured round most of the UK's major arenas, just as the original production did in 2006. This featured a performance of the entire album with a full orchestra conducted by Jeff Wayne himself. The holographic projection of Richard Burton's head has now been replaced by a twenty-foot image of Liam Neeson. The live pyrotechnics have been ramped up, as have the back projected visual effects. The live tour features a slightly different cast compared to the studio recording, with Marti Pellow and Jason Donovan taking major roles.
I managed to track down a Blu-ray release of the stage show that was recorded at the London 02 Arena and I must admit that the whole spectacle works very well. The music itself is still as powerful and compelling as it was back in 1978. Just bear in mind when it was written and the fashionable musical idioms of the time. The laser lighting combined with the CGI effects work and faux Victorian news footage does much to enhance the performance, as does the forty-foot Martian fighting machine. The cast are universally good, especially Jason Donovan who really throws himself in to the role of crazed cleric Nathaniel. The orchestra is also outstanding, as are guitarist Chris Spedding and the legendary Herbie Flowers on bass, who both appeared on the original recording.
Inadvertently stumbling across The War of the Worlds - The New Generation was both a shock and a surprise, but it has also provided a fresh perspective on something I’ve always enjoyed. If I have any complaint, then perhaps it's the fact that Mr. Nesson didn't point out to the Martians that he has a very particular set of skills and then proceed to punch them senseless. But I guess that would be too much of a deviation from the source text. NB After digging around online further, it would appear that on 29th November 2018, a brand-new production entitled Jeff Wayne's The War of The Worlds: The Musical Drama was rleased on Audible.com. This is a brand new five hour Audible Original Production based upon Jeff’s Musical Version and HG Wells’ source text, featuring new story and musical content. The all-star cast includes Michael Sheen as The Journalist, Taron Egerton as The Artilleryman, Ade Edmondson as Ogilvy, Theo James as Parson Nathaniel, with Anna Maie Wayne as Carrie, The Journalist’s Wife. I suspect I shall be listening to this over the Holiday period.
Taken 3 (2015)
Life in the Mills family is never easy. After surviving two previous kidnappings, Brian (Liam Neeson) now finds that his ex-wife Lenore (Famke Janssen) has been brutally murdered. Framed for the crime, goes on the run from the Police, in an attempt to discover the true perpetrator and clear his name. Is Lenore's current partner, Stuart St. John (Dougray Scott) involved in some way? Can Brian protect his pregnant daughter Kim (Maggie Grace)? Has he ever stopped to consider why so many bad things happen to him? Why wasn’t this movie set in Europe like the others? What happens to the huge cuddly Panda seen at the start of the movie? Who in the name of all that is holy edited this movie?
Life in the Mills family is never easy. After surviving two previous kidnappings, Brian (Liam Neeson) now finds that his ex-wife Lenore (Famke Janssen) has been brutally murdered. Framed for the crime, goes on the run from the Police, in an attempt to discover the true perpetrator and clear his name. Is Lenore's current partner, Stuart St. John (Dougray Scott) involved in some way? Can Brian protect his pregnant daughter Kim (Maggie Grace)? Has he ever stopped to consider why so many bad things happen to him? Why wasn’t this movie set in Europe like the others? What happens to the huge cuddly Panda seen at the start of the movie? Who in the name of all that is holy edited this movie?
There's no denying it Taken 3 (or Taken to the Cleaners as I like to call it) is a loud, insanely edited, contrived and downright stupid movie. Once again, just like it’s immediate predecessor, it feels like a bad soap opera for the first thirty minutes until the action kicks in. As before there are two versions of the film available; a PG-13 cut where the fights and set pieces are lightning edited to the point of confusion. Then there’s an unrated edition with a more graphic body count that uses alternative material. The plot and dialogue are often risible with numerous plot holes, to the point that its almost becomes self-parody. At one-point Brian Mills kills two henchmen with a defibrillator, begging the question why wasn't it used in an attempt to resuscitate the screenplay? Yet despite its utter mediocrity, headache inducing visual style and overall stupidity, I still enjoyed Taken 3. That doesn't pardon its sins in anyway. I just find Liam Neeson compelling to watch, even in a movie such as this. He has a very humane, even avuncular quality about him. But an uncle who is also a bit of a sociopath.
Director Oliver Megaton is a very inconsistent film maker. Previous movies such as Colombiana and The Transporter 3 have been more than serviceable. Yet more recent titles such as Taken 2 and Taken 3 are lacking in polish. In this latest instalment the even the ever-dependable Forest Whitaker is left with precious little to do as the Police Inspector tracking down Brian Mills. He tries to bring embellishments to the character, such as his habit of wearing rubber bands around the wrists and carrying a solitary chess piece, but there simply isn't enough material for him to work with. Sam Spruell similarly has a vague role, as Malankov, the villain of the proceedings. Both these actors are potential assets to the movie, but Megaton simply neglects them, focusing more of unnecessary chases and CGI effects.
A Walk Among the Tombstones proved that Liam Neeson can still produce quality performances when given a well written screenplay. He is a good actor and a genuine screen presence. It is the latter attribute that allows him to bluff his way through such unmitigated nonsense as Taken 3. I won't deny that I had fun watching the film (the unrated version naturally), although that was mainly due to my revelling in its iniquities and failings. However, I do recognise that if you are not as forgiving towards Mr. Neeson as I am, then all you will see if a crass, overcooked action movie starring an ageing Irish man who seems nice in-between breaking people’s limbs.
Taken 2 (2012)
If it worked once already, why not just do it all again irrespective of logic and statistical likelihood? Thus, in Taken 2 Ex-CIA operative (and mail order catalogue) Bryan Mills (Liam Neeson) is struggling to come to terms with his daughter Kim (Maggie Grace) growing up and his relationship with his ex-wife Lenore (Famke Janssen). If life wasn't complicated enough with being a Dad, Bryan finds himself up against a vengeful Albanian gang. It would appear that they're somewhat annoyed that he slaughtered their brethren in the previous instalment. Hence Bryan and Lenore are kidnapped whilst on vacation in Istanbul and face a grim death at the hands of the gang's patriarch, Murad Hoxha (Rade Šerbedžija). Once again, the criminal fraternity underestimates the resourcefulness of Mr. Mills and it is not long before the tables are turned.
If it worked once already, why not just do it all again irrespective of logic and statistical likelihood? Thus, in Taken 2 Ex-CIA operative (and mail order catalogue) Bryan Mills (Liam Neeson) is struggling to come to terms with his daughter Kim (Maggie Grace) growing up and his relationship with his ex-wife Lenore (Famke Janssen). If life wasn't complicated enough with being a Dad, Bryan finds himself up against a vengeful Albanian gang. It would appear that they're somewhat annoyed that he slaughtered their brethren in the previous instalment. Hence Bryan and Lenore are kidnapped whilst on vacation in Istanbul and face a grim death at the hands of the gang's patriarch, Murad Hoxha (Rade Šerbedžija). Once again, the criminal fraternity underestimates the resourcefulness of Mr. Mills and it is not long before the tables are turned.
Taken 2 is a tonally odd movie. It bookends the action content with what feels like a quasi-soap opera. A sort of "Life with the Mills family", where Bryan blunders through every stereotype about being a modern Dad. Again, there are plot holes a mile wide along with a total disregard for the laws of sovereign nations. It would appear that running gun battles, car chases and the use of hand grenades are not a big deal in Turkey, just like they weren't in Paris in the first movie. In this alternative universe, people also recover very quickly from traumatic, life altering events such as kidnapping, a near fatal wound and both physical and psychological torture. "Oh, those pesky Albanian gangsters really are a nuisance. Who wants an ice cream?"
Yet despite the complete stupidity of virtually every aspect of Taken 2, it still manages to shrug off all these criticisms and play a lone trump card that saves it. Yes, Liam Neeson manages to carry Taken 2, by the sheer force of his personality, irrespective of the ludicrous dialogue, crass narrative and total lack of internal logic. I don't quite know how to define it, but Mr. Neeson has a quality about him that somehow cancels out all these negative points. He commands the viewers’ attention by being a sort of alpha male, “pater familias”, sexy old death machine. A real achievement for a sixty-year-old man (at the time of filming).
There is a paradox regarding the action sequences in Taken 2. There are some very interesting techniques used, but they are somewhat difficult to discern due to the lightning editing. There is a telescopic baton fight of note and a climatic hand-to-hand battle that is very impressive. Again, I can only recommend the unrated version of the film. The theatrical version was reduced in content to obtain lower ratings on both sides of the Atlantic. Unlike the perfunctory nature of US action movies, there is a noticeable cruel streak running through Taken 2. Some may find this unpalatable. The torture of Lenore focuses very much upon her psychological suffering as the villain brandishes the instruments, he intends to use upon her.
Critics lined up to pour scorn on Taken 2 upon release. Director Olivier Megaton was quickly accused of being the French McG. The film certainly is quite spectacularly preposterous, yet still manages to entertain with it's interesting locations and the towering presence of Liam Neeson. Plus, any movie that advocates locating people by using a map, a bootlace, a pen and several hand grenades deserves some credit. So, I do not feel disposed to join others in beating of this particular cinematic piñata. We all choose to adopt some waif and stray or lost cause at some point. Taken 2 is mine.
Taken (2008)
Sometimes when a movie chimes with the public is goes from being a box office success to becoming part of popular culture. The Taken franchise has done exactly that and a piece of iconic dialogue has now become a perennial internet meme. But if you look beyond this “baggage” and subsequently judge the film by the standards of the genre, you’ll find there’s more than meets the eye. On paper Taken is a fairly formulaic thriller. But it boasts a more interesting pedigree than other movies of this kind. Written by Luc Besson and directed by Pierre Morel (of District 13 fame), the action driven story set in Paris, has all the benefits that come from a European production. But the most intriguing aspect of Taken is the casting of the lead character Bryan Mills. Instead of relying on a known action star, the part ended up with Oscar nominated actor Liam Nesson. As you can imagine, the results are not as you would expect and as a result a serious actor re-invented himself as an action star.
Sometimes when a movie chimes with the public is goes from being a box office success to becoming part of popular culture. The Taken franchise has done exactly that and a piece of iconic dialogue has now become a perennial internet meme. But if you look beyond this “baggage” and subsequently judge the film by the standards of the genre, you’ll find there’s more than meets the eye. On paper Taken is a fairly formulaic thriller. But it boasts a more interesting pedigree than other movies of this kind. Written by Luc Besson and directed by Pierre Morel (of District 13 fame), the action driven story set in Paris, has all the benefits that come from a European production. But the most intriguing aspect of Taken is the casting of the lead character Bryan Mills. Instead of relying on a known action star, the part ended up with Oscar nominated actor Liam Nesson. As you can imagine, the results are not as you would expect and as a result a serious actor re-invented himself as an action star.
Bryan Mills (Liam Nesson), a retired US government agent, is trying to rebuild his relationship with his 17-year-old daughter Kim (Maggie Grace) who lives with his ex-wife (Famke Janssen) and her new husband. Kim, despite her father’s concerns, takes a trip to Paris with her friend Amanda on the pretext of seeing the sights. Her real motive is to follow U2 as they tour Europe. However, events take a bad turn when both girls are abducted by the Albanian Mafia who intend to sell them into slavery. But they do not realise that Kim's Father has a unique set of skills gained from his former line of work. He subsequently brings them to bear in rescuing his daughter. Naturally mayhem follows.
The plot is simple and doesn’t attempt to re-invent the wheel. There are numerous logical flaws, and some may argue that Taken trivialises the issue of human trafficking. But this is an action film and therefore its not obliged to serve as a serious analysis on contemporary social problems. What it does have is a lead actor who is skilled in his craft, bringing an element of credibility and gravitas to a genre known for poor performances. There is also the advantage of a French director who approaches the subject with a little more respect than average US studio. There is no smug humour, designed to mitigate the violence. There is also no moral agenda, self-justification or a requirement for redemption. The characters do what they do and are what they are.
Taken has its flaws. It ignores the laws of a sovereign nation and has an ending similar to that of the 1979 action film Ashanti, which also dealt with modern day slavery. But it also has exceptionally plausible fight scenes using credible techniques. Fight choreographer Olivier Schneider (Transporter, Kiss of The Dragon and District 13) utilises throat punches, wrist and elbow locks, along with realistic knife usage and accurate gun stances. Liam Neeson, an ex-boxer who is well over 6 foot, acquits himself well for a man of his age (he was 56 at the time of shooting). Taken and its subsequent sequels were all edited for a PG-13 rating when released theatrically in the US. However, uncut versions are available on DVD and Blu-ray and it is these editions that action fans should seek out.
The Commuter (2018)
There are action movies. There are subsets of action movies such as the martial arts, heroic bloodshed and the “Die Hard on a [insert mode of transport here]”sub-genre. And then there are Liam Neeson action movies which are a unique a form of films in their own right. Because few actors have achieved what Liam Neeson has done. Some actors start their careers stuck in low budget, exploitation films, only to claw their way up the greasy pole until the wow us with a serious performance and effectively re-invent themselves as a quality character actor. Liam Neeson has done the reverse. After making his mark as a serious actor, with an Oscar nomination under his belt, he then took a serious change in direction to become an action movie star in his mid-fifties. In doing so he found himself a completely new audience and proved a star at the box office. It’s a curious yet strangely laudable achievement. This leads us neatly onto The Commuter. It’s Neeson’s swansong to the action genre, as he has subsequently announced that he’s retiring from this type of movie.
There are action movies. There are subsets of action movies such as the martial arts, heroic bloodshed and the “Die Hard on a [insert mode of transport here]”sub-genre. And then there are Liam Neeson action movies which are a unique a form of films in their own right. Because few actors have achieved what Liam Neeson has done. Some actors start their careers stuck in low budget, exploitation films, only to claw their way up the greasy pole until the wow us with a serious performance and effectively re-invent themselves as a quality character actor. Liam Neeson has done the reverse. After making his mark as a serious actor, with an Oscar nomination under his belt, he then took a serious change in direction to become an action movie star in his mid-fifties. In doing so he found himself a completely new audience and proved a star at the box office. It’s a curious yet strangely laudable achievement. This leads us neatly onto The Commuter. It’s Neeson’s swansong to the action genre, as he has subsequently announced that he’s retiring from this type of movie.
Our titular commuter is an insurance manager named Michael McCauley. He rides the train every day to a somewhat perfunctory office job. When Michael is made redundant just as his son is about to apply for colleges, he and his wife (Elizabeth McGovern) face financial ruin. However, he is thrown a potential lifeline when a mysterious woman played by Vera Farmiga, offers him a deal of Faustian proportions. All he has to do is use his skills to identify a passenger on board “who doesn’t belong”, mark them with a tracker and then walk away with a large sum of money in cash. He is given no further details and told not seek them. As she leaves our mystery lady hints that she knows that prior to his career in insurance, that Michael was a cop. However, all is not as it seems and Michael soon learns that’s he doesn’t really have a choice in the matter, as his wife has been kidnapped. However, this is a Liam Neeson movie and naturally our hero is not going to capitulate to the bad guys demands. Punching and mayhem ensues, a solid supporting cast are given nothing to do and logic goes out the window. Overall it’s a bit silly. However, it is also incredibly entertaining too.
The Commuter begins with in an impressive opening montage which references the changing seasons and varying weather conditions while travelling to New York City. It’s quite an artsy start to the movie which briefly kindles a fool’s hope that this may be a more complex and cerebral action movie. However, the overly complex set up soon dispels any notions of this. Furthermore, once the tortuous plot has been established, it is quickly jettisoned and as the movie progresses, the narrative contradicts and confuses itself further. However, all of this is mitigated by Mr Neeson punching, hitting and bludgeoning sundry bad guys while wisecracking like a Roger Moore tribute act. In a selfless attempt to mitigate the sheer incredulity of a man of Neeson’s mature years fighting his way through an army of mercenaries, the screenplay features several scenes where he references his own age “ironically”. It’s all like an ultra-violent version of Poirot, whose suffering from existential angst. However, beating someone with an electric guitar proves to be somewhat therapeutic.
The Commuter marks the fourth collaboration between Neeson and director Jaume Collet-Serra; a curious film maker who seems to have created and filled a niche market in the action genre, somewhere between Tony Scott and Antoine Fuqua. His films, include Neeson’s Unknown (2011), Non-Stop (2014) and Run All Night (2015). The Commuter is an unashamed variation on an established theme. Not only does Collet-Serra plagiarise classic elements of the action genre but he even plunders his own back catalogue. To call The Commuter Hichcockian would be far too generous, possibly even libellous. If you take a moment to step back and logically assess what is happening, you will find yourself wondering how anyone would choose to finance such a preposterous load of arse gravy. Yet, there is a single mitigating factor that defuses any incredulity the viewer may have and absolves them of any guilt they may have for watching. And that is Liam Neeson; a man who punches wolves, is Lion Jesus and fights trains. I don’t know of any actor currently at work in Hollywood who has such public goodwill. So go see The Commuter and rejoice in the high-concept of a sexagenarian action star.
Run All Night (2015)
Run All Night is a neo-noir with an above average cast (Neeson, Ed Harris, Vincent D'Onofrio and even Nick Nolte). The screenplay by Brad Ingelsby (who co-wrote the similarly hyperbolic Out of the Furnace) is based around the perennial theme of family feuds in the New York's gangster community. It's a plot device that’s been the mainstay of many a movie over the years but few of any outstanding quality. However, Run All Night has the benefits of two strong leads and an exceptional visual aesthetic, that elevate it above the mundane. Narrative weakness is countered with strong performances and the inherent charisma of Neeson and Harris.
Run All Night is a neo-noir with an above average cast (Neeson, Ed Harris, Vincent D'Onofrio and even Nick Nolte). The screenplay by Brad Ingelsby (who co-wrote the similarly hyperbolic Out of the Furnace) is based around the perennial theme of family feuds in the New York's gangster community. It's a plot device that’s been the mainstay of many a movie over the years but few of any outstanding quality. However, Run All Night has the benefits of two strong leads and an exceptional visual aesthetic, that elevate it above the mundane. Narrative weakness is countered with strong performances and the inherent charisma of Neeson and Harris.
Neeson once again slips into ageing celtic alpha male routine as Jimmy Conlon, a veteran Brooklyn hitman. Hard drinking and estranged from his family, Jimmy is haunted by the memories of his victims and seeks redemption. Ed Harris plays Shawn Maguire, the local Crime Boss and Jimmy's friend for many years. He too is reflecting upon his choices and trying to go straight. Both men are fathers. Neeson's boy Mike (Joel Kinnaman) hates his dad and wants nothing to do with him or his lifestyle. Maguire's son Danny (Boyd Holbrook) is the opposite and is attracted to the criminal lifestyle and seeks personal advancement among the criminal fraternity. When circumstances lead to Jimmy killing Danny to protect Mike, friendships are set aside, resulting in a life or death chase across the city at night.
Visually, Run All Night is stunning. The director Jaume Collet-Serra has an aptitude for capturing New York at night. Director of photography Martin Ruhe creates an atmosphere of fear and trepidation with his lighting and framing of high-rise buildings, subways, diners and railway tracks. It most certainly revitalises what is a somewhat tired and over used visual convention. The fluid and mobile cinematography greatly adds to the narrative and the sense of tension. Sadly the screenplay is not so consistent. The first two acts of the movie are tonally geared towards a more philosophical drama. The third act changes tack and settles for an action based approach.
When you stop to analyse various character’s behaviour in Run All Night, very little of it makes any sense. However, the story moves at such a fast pace that it's only after viewing the film that it’s deficiencies become apparent. Harris and Neeson save the movie from some of its failing. Both actors are always interesting to watch and Harris is under appreciated by his peers, in my book. Run All Night ultimately plays out like a variation of Road to Perdition, although it lacks the polish and depth of that movie. Overall it is a cut above the increasingly lacklustre Taken franchise and it’s at least nice to see a thriller come action movie, that doesn't back pedal and seek the mass market appeal of a PG-13 rating.
Non-Stop (2014)
I don't know what it is about the planes but they do seem to lend a certain "je ne sais quoi" to movies. Whether it's the claustrophobic environment with its shared intimacy or our general familiarity with air travel, staging a film on a commercial flight can often improve its chances to entertain. Zombies, snakes and terrorists have all benefited from this plot device, with varying degrees of success. So bearing this in mind, if you put Liam Neeson on a plane, you know that there's going to be more than just some in-flight turbulence. That is exactly what director Jaume Collet-Serra and writers Chris Roach and John Richardson have done with Non-Stop; a surprisingly entertaining action movie.
I don't know what it is about the planes but they do seem to lend a certain "je ne sais quoi" to movies. Whether it's the claustrophobic environment with its shared intimacy or our general familiarity with air travel, staging a film on a commercial flight can often improve its chances to entertain. Zombies, snakes and terrorists have all benefited from this plot device, with varying degrees of success. So bearing this in mind, if you put Liam Neeson on a plane, you know that there's going to be more than just some in-flight turbulence. That is exactly what director Jaume Collet-Serra and writers Chris Roach and John Richardson have done with Non-Stop; a surprisingly entertaining action movie.
I say surprisingly because on paper the plot does seems rather workmanlike. Federal Air Marshall Bill Marks (Liam Neeson) is a burnt out drunk, still grieving over the death of his child. Whilst on an international flight to London he starts receiving text message threats from an anonymous source, claiming that a passenger will die very twenty minutes unless one hundred and fifty million dollars is paid into a specific bank account. His colleagues and immediate superiors quickly become skeptical when it is discovered that the account is in his name. Marks soon finds that he is the main suspect and that the passengers and crew are turning against him. Throw a bomb into the mix and you have a very contemporary but far from unusual narrative.
However, Non-Stop ups it's game in several ways and proves to be a very enjoyable one hundred and six minutes. First off Liam Neeson is incredibly watchable and carries movies such as this. His soft but assertive voice is compelling and he has a genuine screen presence. He also acquits himself very well with the movies physical demands. Non-Stop has some very good hand to hand fight scene, the standout one taking place in a toilet. The supporting cast is very competent with Julianne Moore playing a supportive passenger who backs Bill Marks when things start going south. There is also an eclectic collection of characters aboard the plane and it is pleasant to see the writers play with the concept of stereotypes and try to do something different.
Non-Stop also manages to bring a curious "whodunnit" vibe to the proceedings. Although the plot does become increasingly convoluted and fanciful, it doesn't lose the audience. In some ways, there is an element of Agatha Christie to the story as viewers ponder who on the plane is the villain of the piece. After all there's been a poisoning by this point (just not in the library). The bomb is another plot device that is handled with difference. "Isn't there a wire to cut" one of the passengers remarks. Not this time round and Mr. Neeson elects for a controlled explosion introducing one of Alfred Hitchcock's basic tenets about film making.
Despite the terrorism motif of the story, Non-Stop avoids anything more than a brief reference to 9/11. This is fast paced action movie and not an in-depth study in geopolitics. The speed of the narrative does have some down sides. Some of the cast have little to do beyond the functional and there are the usual logical plot flaws and willful ignorance of the laws of aerodynamics and physics. "It doesn't make any sense" laments Bill Marks as matters go from bad to worse. The thing is it doesn't always have to, as long as it's done with conviction. The primary motivation of Non-Stop is to entertain. Because it offers sufficient difference and the presence of Liam Neeson, who has become a seriously bankable action star, it achieves its goal.
The Grey (2012)
Contrary to its rather obvious marketing, The Grey is not just a black and white, testosterone fuelled, action movie. It has far greater philosophical aspirations. Beneath the survivalist storyline is a narrative that explores the nature of hope, human determination and the inevitability of death as well as its place in the natural order of things. This is surprisingly cerebral for a film of this genre. It is sombre and dour but totally justified in adopting such tones. Director Joe Carnahan initially sets out a traditional scenario of a rag tag group of oil workers, desperately trying to survive the Alaskan wilderness, after a plane crash. They look to Liam Neeson to assume the alpha-male role for their group. However, we soon discover that he is wrestling with his own personal demons.
Contrary to its rather obvious marketing, The Grey is not just a black and white, testosterone fuelled, action movie. It has far greater philosophical aspirations. Beneath the survivalist storyline is a narrative that explores the nature of hope, human determination and the inevitability of death as well as its place in the natural order of things. This is surprisingly cerebral for a film of this genre. It is sombre and dour but totally justified in adopting such tones. Director Joe Carnahan initially sets out a traditional scenario of a rag tag group of oil workers, desperately trying to survive the Alaskan wilderness, after a plane crash. They look to Liam Neeson to assume the alpha-male role for their group. However, we soon discover that he is wrestling with his own personal demons.
It is here that the film shows some interesting strengths and weaknesses, by exploring the back story of the various survivors and how each copes with the hopelessness of their situation. Neeson softly calms a dying man, explaining the nature of death and helping him accept his fate. It is a scene that works well. But some of the other survivors do seem to lack credibility and are somewhat arbitrary. They serve as red shirt wolf fodder and are primarily there to expedite the plot. The wolves themselves, although ferocious are treated more as an allegorical device, rather than a traditional foe. The attacks are rapidly edited and much of the violence depicted is of the aftermath of these encounters.
The Grey reminded me of several classic Hollywood films, not so much by direct comparison, but simply though similarity of themes and ideas. The Flight of the Phoenix, Sands of the Kalahari and even Zulu sprang to mind. But the films greatest asset, irrespective of these cinematic homages, is the central performance by Liam Neeson. His commanding on-screen presence is utterly convincing and binds the film together. There is genuine dignity in his character as he grapples with his obligations to those that look to him for leadership. A lesser actor would have rendered the film nothing more than a story of man versus the environment. Neeson elevates it to a different level; a thought provoking, existentialist parable.