Film Review – UNDER SUSPICION (1991)

UNDER SUSPICION (1991, UK) ***
Crime, Drama, Thriller
dist. Rank Film Distributors (UK), Columbia Pictures (USA); pr co. Carnival Film & Television / Columbia Pictures / London Weekend Television (LWT) / The Rank Organisation; d. Simon Moore; w. Simon Moore; pr. Brian Eastman; ph. Vernon Layton (Colour. 35mm. Panavision (anamorphic). 2.35:1); m. Christopher Gunning; ed. Tariq Anwar; pd. Tim Hutchinson; ad. Tony Reading; rel. 27 September 1991 (UK), 28 February 1992 (USA); BBFC cert: 18; r/t. 99m.
cast: Liam Neeson (Tony Aaron), Laura San Giacomo (Angeline), Kenneth Cranham (Frank), Maggie O’Neill (Hazel Aaron), Stephen Moore (Roscoe), Alphonsia Emmanuel (Selina), Alex Norton (Prosecuting Lawyer), Kevin Moore (Barrister), Alan Talbot (Powers), Malcolm Storry (Waterston), Martin Grace (Colin), Richard Graham (Denny), Michael Almaz (Stasio), Nicolette McKenzie (Mrs. Roscoe), Alan Stocks (Paul), Tommy Wright (Hotel Janitor), Lee Whitlock (Ben), Noel Coleman (Judge), Stephen Oxley (Hotel Deskman), Colin Dudley (Hotel Waiter).
In this emulation of ‘40s and ‘50s film noir, Neeson is a private eye who becomes a double-murder suspect when his client’s boyfriend and his own wife are found dead, side by side. The sleaze has been amped up here with increased doses of sex and more graphic violence. The genre conventions are played to the hilt quite nicely in the first two acts, but the story goes off the rails in its final act as implausibility takes over with director/writer Moore keen to top each twist. A race against the clock element is also thrown in for good measure. The result is an entertaining but contrived and flawed mystery/thriller – not least because San Giacamo makes for an unconvincing femme fatale. Neeson, however, is good in the lead role and the period setting (Brighton, 1959 into 1960) is well realised.

Film Review – THE MARKSMAN (2021)

THE MARKSMAN (2021, USA) ***
Action, Thriller
dist. Open Road Entertainment (USA), Shear Entertainment (UK); pr co. Cutting Edge Group / Raven Capital Management / Sculptor Media / Stonehouse Motion Pictures / UTA Independent Film Group / Voltage Pictures / Zero Gravity Management; d. Robert Lorenz; w. Chris Charles, Danny Kravitz, Robert Lorenz; pr. Tai Duncan, Eric Gold, Warren Goz, Robert Lorenz, Mark Williams; ph. Mark Patten (Colour. 2.39:1); m. Sean Callery; addl m. Jonas Friedman; ed. Luis Carballar; pd. Charisse Cardenas; ad. Gregory G. Sandoval; rel. 15 January 2021 (USA), 26 February 2021 (UK – internet); BBFC cert: 12; r/t. 108m.
cast: Liam Neeson (Jim), Katheryn Winnick (Sarah), Juan Pablo Raba (Mauricio), Teresa Ruiz (Rosa), Jacob Perez (Miguel), Dylan Kenin (Randall), Luce Rains (Everett), Sean A. Rosales (Hernando), Alfredo Quiroz (Carlos), Jose Vasquez (Isidro), Antonio Leyba (Rigo), Yediel Quiles (Jorge), Christian Hicks (Danny), Jose Mijangos (Emilio), Roger Jerome (Otto), Kellen Boyle (Dalton), Ann Barrett Richards (Bartender Clara), David DeLao (Coyote), Elias Gallegos (Agent), Rose Leininger (Waitress).
In this efficient but flawed action thriller, Neeson delivers a fine crusty performance as a rancher on the Arizona border who becomes the unlikely defender of a young Mexican boy desperately fleeing the cartel assassins who’ve pursued him into the U.S. Whilst the film has echoes of other, stronger movies and ultimately fails to fulfil its promise, it is still a serviceable vehicle for Neeson’s grizzled action hero persona. Here his character carries more baggage and has stronger motivation for his actions than in other recent similar vehicles. The script, however, fails to fully mature his character’s relationship with the boy and slips too often into conventional action set-pieces.

Film Review – THE ICE ROAD (2021)

THE ICE ROAD (2021, USA/Canada) **
Action, Adventure
dist. Netflix (USA), Signature Entertainment (UK); pr co. Code Entertainment / ShivHans Pictures / Envision Media Arts / Ice Road Productions; d. Jonathan Hensleigh; w. Jonathan Hensleigh; pr. Al Corley, Eugene Musso, Lee Nelson, Shivani Rawat, Bart Rosenblatt, David Tish; ph. Tom Stern (Colour. DCP Digital Cinema Package. ARRIRAW (4.5K) (source format). 2.39:1); m. Max Aruj; ed. Douglas Crise; pd. Arvinder Greywal; ad. David Best; rel. 25 June 2021 (UK/USA – internet); BBFC cert: 12; r/t. 109m.
cast: Liam Neeson (Mike McCann), Marcus Thomas (Gurty McCann), Laurence Fishburne (Jim Goldenrod), Amber Midthunder (Tantoo), Benjamin Walker (Tom Varnay), Holt McCallany (Lampard), Martin Sensmeier (Cody Mantooth), Matt McCoy (GM George Sickle), Matt Salinger (CEO Thomason), Chad Bruce (Shift Super Mankins), Adam Hurtig (Fred Ford), Bradley Sawatzky (VP Operations Jack Tager), Marshall Williams (Mine Safety Supervisor Tully), Paul Essiembre (Deputy Minister O’Toole), Arne MacPherson (Miner Claude), Gabriel Daniels (Miner Barney), Natasha Elise Kotzubei (Lead VA Nurse), Lauren Cochrane (VA Nurse), Harry Nelken (VA Administrative), Al Corley (Doctor).
A grizzled Neeson is the main draw in this cliched action thriller. After a remote diamond mine collapses in far northern Canada, a ‘big-rig’ ice road driver (Neeson) must lead an impossible rescue mission over a frozen ocean to save the trapped miners. Saddled with a by-the-numbers script with some risible dialogue, Neeson and company still manage to inject some energy into the proceedings. Unfortunately, the plotting becomes increasingly illogical and the action sequences are unevenly directed and edited with sub-standard CGI.

Film Review – TAKEN 3 (2014)

TAKEN 3 (2014, France/USA/Spain) **
Action, Thriller
dist. Twentieth Century Fox; pr co. EuropaCorp / M6 Films / Taken 3 / Twentieth Century Fox; d. Olivier Megaton; w. Luc Besson, Robert Mark Kamen (based on characters created by Luc Besson & Robert Mark Kamen); pr. Luc Besson; ph. Eric Kress (Colour. 35 mm (Kodak Vision 2383), D-Cinema. Digital Intermediate (2K) (master format), Hawk Scope (anamorphic) (source format), Super 35 (source format) (some scenes). 2.35:1); m. Nathaniel Méchaly; ed. Audrey Simonaud, Nicolas Trembasiewicz; pd. Sébastien Inizan; ad. Christophe Couzon, Natacha Hatch, Dominique Moisan, Nanci Roberts; rel. 16 December 2014 (Germany), 7 January 2015 (USA), 8 January 2015 (UK); BBFC cert: 12; r/t. 109m.
cast: Liam Neeson (Bryan Mills), Forest Whitaker (Franck Dotzler), Famke Janssen (Lenore St. John), Maggie Grace (Kim Mills), Dougray Scott (Stuart St. John), Sam Spruell (Oleg Malankov), Don Harvey (Garcia), Dylan Bruno (Smith), Leland Orser (Sam (Gilroy)), David Warshofsky (Bernie (Harris)), Jon Gries ((Mark) Casey), Jonny Weston (Jimy), Andrew Borba (Clarence), Judi Beecher (Claire), Andrew Howard (Maxim).
Liam Neeson returns for his third outing as ex-government operative Bryan Mills, who is accused of a ruthless murder he never committed or witnessed. As he is tracked and pursued, Mills brings out his particular set of skills to find the true killer and clear his name. Like its immediate predecessor, this action vehicle is directed by Megaton, who again employs his staccato editing techniques to the action sequences robbing them of any sense of tension or rhythm. The plot formula is a poor man’s riff on THE FUGITIVE. Whilst Neeson is again watchable in the lead and Whitaker adds an element of intelligence as the pursuing detective, the plot implausibility and its increasingly cartoonish and nonsensical violence suck any heart or emotion from the narrative. The movie goes rapidly downhill toward its inevitably formulaic and over-the-top shootout finale. Extended version runs 115m.

Film Review – TAKEN 2 (2012)

TAKEN 2 (2012, France/USA/Turkey/UK) **½
Action, Crime, Thriller
dist. Twentieth Century Fox; pr co. EuropaCorp / M6 Films / Grive Productions; d. Olivier Megaton; w. Luc Besson, Robert Mark Kamen (based on characters created by Luc Besson & Robert Mark Kamen); pr. Luc Besson; ph. Romain Lacourbas (Colour. 35 mm (Fuji Eterna-CP 3514DI), D-Cinema. Digital Intermediate (2K) (master format), Panavision (anamorphic) (source format) (some scenes), Super 35 (3-perf) (source format), . 2.35:1); m. Nathaniel Méchaly; ed. Camille Delamarre, Vincent Tabaillon; pd. Sébastien Inizan; ad. Christophe Couzon, Dominique Moisan, Nanci Roberts, Atilla Yilmaz; rel. 7 September 2012 (France), 4 October 2012 (UK), 5 October 2012 (USA); BBFC cert: 12; r/t. 92m.
cast: Liam Neeson (Bryan Mills), Maggie Grace (Kim), Famke Janssen (Lenore), Leland Orser (Sam), Jon Gries (Casey), D.B. Sweeney (Bernie), Luke Grimes (Jamie), Rade Serbedzija (Murad Krasniqi), Kevork Malikyan (Inspector Durmaz), Alain Figlarz (Suko), Frank Alvarez (Car Wash Attendant), Murat Tuncelli (Custom Officer Albania), Ali Yildirim (Imam), Ergun Kuyucu (Mirko), Cengiz Bozkurt (Border Guard #1), Hakan Karahan (Reception Clerk), Saruhan Sari (Waiter), Naci Adigüzel (Cheikh), Aclan Bates (Cheikh’s Aide), Mehmet Polat (Hotel Driver).
In Istanbul, retired CIA operative Bryan Mills (Neeson) and his wife (Janssen) are taken hostage by the father of a kidnapper Mills killed while rescuing his daughter (Grace). This follow-up to the popular 2008 hit is basically more of the same – only this time the whole family is involved. Neeson picks up where he left off in the first movie, but the script sadly offers little that is new or challenging, leaving us with a greatest hits re-run that remains entertaining despite its implausibility and by-the-numbers approach. Megaton’s kinetic editing, however, more often induces confusion and dizziness rather than create suspense and thrills. Extended version runs 98m. Followed by TAKEN 3 (2015).

Film Review – TAKEN (2008)

TAKEN (2008, France/USA/UK) ***
Action, Crime, Thriller
dist. 20th Century Fox; pr co. EuropaCorp / M6 Films / Grive Productions; d. Pierre Morel; w. Luc Besson, Robert Mark Kamen; pr. Luc Besson; ph. Michel Abramowicz (Colour. 35 mm (anamorphic) (Kodak Vision Premier 2393), D-Cinema. Digital Intermediate (2K) (master format), HDCAM SR (1080p/24) (source format), Super 35 (3-perf) (source format). 2.35:1); m. Nathaniel Méchaly; ed. Frédéric Thoraval; pd. Hugues Tissandier; ad. Gilles Boillot; rel. 16 February 2008 (France), 26 September 2008 (UK), 30 January 2009 (USA), ; BBFC cert: 18; r/t. 93m.
cast: Liam Neeson (Bryan Mills), Maggie Grace (Kim), Famke Janssen (Lenore), Katie Cassidy (Amanda), Leland Orser (Sam), Jon Gries (Casey), David Warshofsky (Bernie), Holly Valance (Sheerah), Xander Berkeley (Stuart), Olivier Rabourdin (Jean-Claude), Gérard Watkins (St-Clair), Marc Amyot (Pharmacist), Arben Bajraktaraj (Marko), Radivoje Bukvic (Anton), Mathieu Busson (Undercover Agent), Michel Flash (Gio), Nicolas Giraud (Peter), Rubens Hyka (Leka), Camille Japy (Isabelle), Valentin Kalaj (Vinz).
Neeson stars as Bryan Mills, a former government operative trying to reconnect with his daughter, Kim (Grace), in this fast-paced action thriller. His worst fears become real when sex slavers abduct Kim and her friend shortly after they arrive in Paris for vacation. With just four days until Kim will be auctioned off, Bryan must call on every skill he learned in black ops to rescue her. The movie coasts on Neeson’s charisma and macho performance as well as the tightly edited action sequences. The pace is such that director Morel manages to gloss over the story’s plot holes and its many conveniences. The villains remain two-dimensional targets for Neeson’s killing machine and there is only lip-service paid to the strained relationship between Neeson and ex-wife Janssen. That said, what we have left is an undeniably enjoyable and bone-crunching entertainment. Followed by TAKEN 2 (2012).

Film Review – STAR WARS: EPISODE I – THE PHANTOM MENACE (1999)

Watch Star Wars: The Phantom Menace (Episode I) | Full Movie | Disney+STAR WARS: EPISODE I – THE PHANTOM MENACE (1999, USA) ***
Action, Adventure, Fantasy, Sci-Fi
dist. Twentieth Century Fox; pr co. Lucasfilm; d. George Lucas; w. George Lucas; exec pr. George Lucas; pr. Rick McCallum; ph. David Tattersall (DeLuxe. 35 mm (Kodak Vision 2383, Vision Premier 2393), D-Cinema (Texas Instruments DLP 1280 x 1024, 1.9: 1 anamorphic). Dolby Vision, HDCAM (some scenes), Hawk Scope (anamorphic), Powerscope (anamorphic) (underwater scenes), VistaVision (some scenes). 2.35:1); m. John Williams; ed. Ben Burtt, Paul Martin Smith; pd. Gavin Bocquet; ad. Peter Russell; set d. Peter Walpole; cos. Trisha Biggar; m/up. Paul Engelen, Sue Love; sd. Tom Bellfort, Ben Burtt, Matthew Wood (Dolby Digital EX | SDDS (8 channels) | DTS-ES | Dolby Atmos); sfx. Geoff Heron, Peter Hutchinson; vfx. John Knoll, Dennis Muren, Scott Squires; st. Nick Gillard; anim. Miguel A. Fuertes; rel. 16 May 1999 (USA), 14 July 1999 (UK); cert: U; r/t. 136m.

cast: Liam Neeson (Qui-Gon Jinn), Ewan McGregor (Obi-Wan Kenobi), Natalie Portman (Queen Amidala / Padmé), Jake Lloyd (Anakin Skywalker), Ian McDiarmid (Senator Palpatine), Pernilla August (Shmi Skywalker), Oliver Ford Davies (Sio Bibble), Hugh Quarshie (Captain Panaka), Ahmed Best (Jar Jar Binks), Anthony Daniels (C-3PO (voice)), Kenny Baker (R2-D2), Frank Oz (Yoda (voice)), Terence Stamp (Chancellor Valorum), Brian Blessed (Boss Nass (voice)), Andy Secombe (Watto (voice)), Ray Park (Darth Maul), Lewis Macleod (Sebulba (voice)), Warwick Davis (Wald / Pod race spectator / Mos Espa Citizen), Steve Speirs (Captain Tarpals).

The first of the second trilogy of STAR WARS movies goes back to the start of the story. Here, two Jedi Knights, Qui-Gon Jinn (Neeson) and Obi-Wan Kenobi (McGregor) escape a hostile blockade to find allies and come across a young boy (Lloyd) who may bring balance to the Force, but the long dormant Sith resurface to reclaim their old glory. The film is a technical and visual marvel but is lumbered with a leaden narrative, a wordy script and wooden dialogue. Except for Neeson and the villainous McDiarmid, the actors fail to breathe life into the characters leaving an experience that lacks emotive investment. What’s left is to marvel at the staging of the action sequences, which at times feel too heavily choreographed, and to be antagonised by Jar Jar Binks – the singularly most annoying character of the series. The finale battle is well staged and sets up the thread to be taken forward in the next two films. Re-released in 3D in 2012. Followed by STAR WARS EPISODE II: ATTACK OF THE CLONES (2002).

AAN: Best Sound (Gary Rydstrom, Tom Johnson, Shawn Murphy, John Midgley); Best Effects, Sound Effects Editing (Ben Burtt, Tom Bellfort); Best Effects, Visual Effects (John Knoll, Dennis Muren, Scott Squires, Rob Coleman)

Film Review – COLD PURSUIT (2019)

Image result for cold pursuit 2019COLD PURSUIT (USA, 2019) ***½
      Distributor: Lionsgate (USA), StudioCanal (UK); Production Company: StudioCanal / Paradox Films; Release Date: 8 February 2019 (USA), 22 February 2019 (UK); Filming Dates: March 2017; Running Time: 119m; Colour: Colour; Sound Mix: Dolby Digital (7.1 surround); Film Format: D-Cinema; Film Process: Digital Intermediate (4K) (master format); Aspect Ratio: 2.39:1; BBFC Cert: 15 – strong violence.
      Director: Hans Petter Moland; Writer: Frank Baldwin (based on a screenplay by Kim Fupz Aakeson); Executive Producer: Michael Dreyer, Shana Eddy-Grouf, Ron Halpern, Didier Lupfer, Paul Schwartzman; Producer: Finn Gjerdrum, Stein B. Kvae, Michael Shamberg, Ameet Shukla; Associate Producer: Nicolai Moland; Director of Photography: Philip Øgaard; Music Composer: George Fenton; Film Editor: Nicolaj Monberg; Casting Director: Avy Kaufman; Production Designer: Jørgen Stangebye Larsen; Art Director: Kendelle Elliott; Set Decorator: Peter Lando; Costumes: Anne Pedersen; Make-up: Krista Young; Sound: James Boyle; Special Effects: Jason Paradis; Visual Effects: Jan Guilfoyle, Martin Lake, Noga Alon Stein.
      Cast: Liam Neeson (Nels Coxman), Laura Dern (Grace Coxman), Micheál Richardson (Kyle Coxman), Michael Eklund (Speedo), Bradley Stryker (Limbo), Wesley MacInnes (Dante), Tom Bateman (Trevor ‘Viking’ Calcote), Domenick Lombardozzi (Mustang), Nicholas Holmes (Ryan), Jim Shield (Jaded Coroner), Aleks Paunovic (Detective Osgard), Glenn Ennis (Night Club Bouncer), Benjamin Hollingsworth (Dexter), John Doman (John ‘Gip’ Gipsky), Emmy Rossum (Kim Dash), Chris W. Cook (Ski Bum), Venus Terzo (Mother), Dani Alvarado (Daughter), Julia Jones (Aya), Michael Adamthwaite (Santa), William Forsythe (Brock), Elizabeth Thai (Ahn), David O’Hara (Sly), Gus Halper (Bone), Elysia Rotaru (Diner Waitress), Kyle Nobess (Simon Legrew), Victor Zinck Jr. (Drunken Ski Dude), Raoul Max Trujillo (Thorpe), Nathaniel Arcand (Smoke), Glen Gould (War Dog), Mitchell Saddleback (Avalanche), Christopher Logan (Shiv), Tom Jackson (White Bull), Bart Anderson (Blizzard Bartender), Gary Sekhon (Denver Cabbie), Arnold Pinnock (The Eskimo), Ben Cotton (Windex), Emily Maddison (Gorgeous Woman), Glenn Wrage (Kurt), Michael Bean (Parson), Ben Sullivan (Teen), Travis MacDonald (Ski Lift Attendant), Manna Nichols (Minya), Loretta Walsh (Resort Clerk), Nels Lennarson (Chuck Schalm), Max Montesi (Paragliding Instructor), Peter Strand Rumpel (Viking’s Thug).
      Synopsis: A grieving snowplough driver seeks out revenge against the drug dealers who killed his son.
      Comment: Darkly comic thriller has much to commend it as Neeson plays it straight against a quirky cast of characters. The extreme violence is delivered via a series of well-shot action sequences. Where the story falls down is in not seeing through some of the elements of its plot – the relationship between Neeson and his wife Dern is not fully resolved and the theme of father-son relationships heavily hinted at across a number of the core characters is not fully explored. What remains is an entertaining and stylish story that only scratches at the surface of its potential.
      Notes: Based on the 2014 Norwegian film IN ORDER OF DISAPPEARANCE.

Film Review – THE DEAD POOL (1988)

Image result for the dead pool 1988THE DEAD POOL (USA, 1988) ***
      Distributor: Warner Bros. Pictures; Production Company: Warner Bros. Pictures / Malpaso Productions; Release Date: 13 July 1988 (USA), 14 April 1989 (UK); Filming Dates: 17 February – March 1988; Running Time: 91m; Colour: Technicolor; Sound Mix: Dolby Stereo (4 channels) | Dolby Digital (5.1); Film Format: 35mm; Film Process: Spherical; Aspect Ratio: 1.85:1; BBFC Cert: 18.
      Director: Buddy Van Horn; Writer: Steve Sharon (based on a story by Steve Sharon, Durk Pearson and Sandy Shaw and characters created by Harry Julian Fink and Rita M. Fink); Producer: David Valdes; Director of Photography: Jack N. Green; Music Composer: Lalo Schifrin; Film Editor: Ron Spang; Casting Director: Phyllis Huffman; Production Designer: Edward C. Carfagno; Set Decorator: Thomas L. Roysden; Costumes: Glenn Wright, Deborah Hopper; Make-up: Monty Westmore; Sound: Richard S. Church; Special Effects: Joe Day, Bob Finley III, Chuck Gaspar, Thomas Mertz, Bruce Robles.
      Cast: Clint Eastwood (Harry Callahan), Patricia Clarkson (Samantha Walker), Liam Neeson (Peter Swan), Evan C. Kim (Al Quan), David Hunt (Harlan Rook), Michael Currie (Captain Donnelly), Michael Goodwin (Lt. Ackerman), Darwin Gillett (Patrick Snow), Anthony Charnota (Lou Janero), Christopher P. Beale (D.A. Thomas McSherry), John Vick (Lt. Ruskowski), Jeff Richmond (Freeway Reporter #1), Patrick N. Van Horn (Freeway Reporter #2), Sigrid Wurschmidt (Freeway Reporter #3), Jim Carrey (Johnny Squares), Deborah A. Bryan (Girl in Rock Video), Nicholas Love (Jeff Howser), Maureen McVerry (Vicky Owens), John X. Heart (Samantha’s Cameraman), Victoria Bastel (Suzanne Dayton), Kathleen Turco-Lyon (Officer at Trailer), Michael Faqir (Sergeant at Trailer), Ronnie Claire Edwards (Molly Fisher), Wallace Choy (Chinese Store Manager), Melodie Soe (Chinese Restaurant Hostess), Kristopher Logan (Gunman #1), Scott Vance (Gunman #2), Glenn Wright (Detective Hindmark), Stu Klitsner (Minister), Karen Kahn (T.V. Associate Producer), Shawn Elliott (Chester Docksteder), Ren Reynolds (Perry), Ed Hodson (Paramedic at Elevator), Edward Hocking (Warden Hocking), Diego Chairs (Butcher Hicks), Patrick Valentino (Pirate Captain), Calvin Jones (Pirate Tug Reporter #1), Melissa Martin (Pirate Tug Reporter #2), Phil Dacey (Detective Dacey), Louis Giambalvo (Gus Wheeler), Peter Anthony Jacobs (Sgt. Holloway), Bill Wattenburg (Nolan Kennard), Hugh McCann (Young Man on Talkshow), Suzanne Sterling (Young Woman on Talkshow), Lloyd Nelson (Sgt. Waldman), Charles Martinet (Police Station Reporter #1), Taylor Gilbert (Police Station Reporter #2), George Orrison (Embarcadero Bodyguard #1), Marc Alaimo (Embarcadero Bodyguard #2), Justin Whalin (Jason), Kris LeFan (Carl), Katie Bruce (Girl on Sidewalk), Harry Demopoulos (Doctor in Hospital Room), John Frederick Jones (Dr. Friedman), Martin Ganapoler (Reporter at Pier).
      Synopsis: Dirty Harry Callahan must stop a sick secret contest to murder local celebrities, which includes himself as a target.
      Comment: Fifth and final DIRTY HARRY movie is an outlandish but watchable thriller coasting on Eastwood’s star presence. The plot is far-fetched, including a great set-piece with a toy car carrying a bomb. Clarkson is a reporter out to get the story who falls in with Eastwood.  Carrey grabs attention as a junkie rock star, whilst Neeson is seen in an early role as a self-obsessed film director. It all adds up to a comic book action thriller, but a diverting time for undemanding viewers.
      Notes: Song: “Welcome to the Jungle,” written by Slash, W. Axl Rose, Steven Adler, Izzy Stradlin and Duff Rose McKageh, performed by Guns N’ Roses, courtesy of Geffen Records, by arrangement with Warner Special Products.

Film Review – THE COMMUTER (2018)

Image result for the commuter 2018THE COMMUTER (USA/UK, 2018) **
      Distributor: Lionsgate (USA), StudioCanal (UK); Production Company: StudioCanal / The Picture Company / Ombra Films; Release Date: 8 January 2018 (USA), 19 January 2018 (UK); Filming Dates: 25 July 2016 – September 2016; Running Time: 104m; Colour: Colour; Sound Mix: Dolby Atmos; Film Format: D-Cinema; Film Process: ARRIRAW; Aspect Ratio: 2.39:1; BBFC Cert: 15 – strong violence, injury detail.
      Director: Jaume Collet-Serra; Writer: Byron Willinger, Philip de Blasi, Ryan Engle (based on a story by Byron Willinger and Philip de Blasi); Executive Producer: Jaume Collet-Serra, Michael Dreyer, Ron Halpern, Didier Lupfer; Producer: Alex Heineman, Andrew Rona; Associate Producer: Lacey Darlene Paulson; Director of Photography: Paul Cameron; Music Composer: Roque Baños; Film Editor: Nicolas De Toth; Casting Director: Reg Poerscout-Edgerton; Production Designer: Richard Bridgland; Art Director: Wing Lee; Set Decorator: Tina Jones; Costumes: Jill Taylor, Betsy Heimann; Make-up: Sunday Englis; Sound: James Harrison, Steve Little; Special Effects: Stefano Pepin; Visual Effects: Steven Begg, Adam Rowland.
      Cast: Liam Neeson (Michael MacCauley), Vera Farmiga (Joanna), Patrick Wilson (Alex Murphy), Jonathan Banks (Walt), Sam Neill (Captain Hawthorne), Elizabeth McGovern (Karen MacCauley), Killian Scott (Dylan), Shazad Latif (Vince), Andy Nyman (Tony), Clara Lago (Eva), Roland Møller (Jackson), Florence Pugh (Gwen), Dean-Charles Chapman (Danny MacCauley), Ella-Rae Smith (Sofia), Nila Aalia (Sherri), Colin McFarlane (Conductor Sam), Kobna Holdbrook-Smith (Oliver), Adam Nagaitis (Conductor Jimmy), Kingsley Ben-Adir (Agent Garcia), Damson Idris (Agent Denys), Andy Lucas (Manny Engineer), Zaak Conway (Caleb O’Malley), Ben Caplan (Frank), Letitia Wright (Jules Skateboarder), Simon Hibbs (Sean O’Malley), Nathan Wiley (Sniper), Jamie Beamish (Nathan), Ben Nathan (Police Officer), David Alwyn (Platform Trooper), John Alastair (Officer O’Neal), Edward Bluemel (Gwen’s Boyfriend), Aoife Hinds (Jeanie), Alana Maria (Officer Jones), Pat Kiernan (Pat Kiernan), Natalie Duddridge (Natalie Duddridge), Jaime Menéndez (Enrique Mendez).
       Synopsis: An Insurance Salesman/Ex-Cop is caught up in a criminal conspiracy during his daily commute home.
      Comment: Preposterous thriller straight out of the “good ideas” department of the studio corporate wagon. It is almost a carbon-copy re-run of Neeson and Collet-Serra’s previous aeroplane-in-jeopardy collaboration NON-STOP. Whilst it is efficiently made and Neeson, as always, makes for a sympathetic hero, you find yourself scratching your head as to how this could actually be conceived as being in the least bit plausible. The set-pieces are so precisely choreographed they consistently ring false notes, resulting in the deflation of any suspense built through the competent direction and editing. This is formula product assembled for a forgiving modern audience that puts style and visual excitement ahead of intelligent story-telling.