Liam Neeson

Cold Pursuit (2019)

ByChristian Sauvé Movie Review

(Amazon Streaming, December 2020) Producers apparently aren’t done with Liamsploitation film, apparently, and neither am I: if you want to cast sixty-something Liam Neeson as a plow truck driver going on a rampage of revenge against the local mob for killing his son, then be my guest. But Cold Pursuit does have a slightly different flavour from other Liamsploitation films. The setting, high up in the snowy mountains, is distinctive enough. But it’s the tone of the film, adapted from Norwegian action film Kraftidioten, that makes it as distinctive as The Grey was. Here, we get a revenge story served as a very dark comedy, from distinctive angles chosen by director Hans Petter Moland (who also directed the original) to visually scratching out the names of the (many) deceased as they are taken out of the story. It’s a bit of flourish over what could have been a very familiar story of grieving dads, mob war, escalating revenge and baroque death scenes. It’s certainly watchable, and perhaps (due to its off-beat tone) slightly more memorable than other comparable Liamsploitation films. At some point, we can all have fun seeing Neeson plowing into other guys all movie long. Wait, that didn’t come out right…

Husbands and Wives (1992)

ByChristian Sauvé Movie Review

(On TV, March 2020) One of the issues with Woody Allen and trying to separate his art from his somewhat unsettling life is that his movies are big giant signposts telling us about his state of mind at any given time. Husbands and Wives, for instance, is a tale of marital dissatisfaction that just happened to come out at the end of his relationship with Mia Farrow—with Farrow and Allen fighting it out on celluloid. Whew. There’s more, of course—the seediest things in Allen’s filmography are the constant relationships between much older men and women at most half his age, and we get that once again here—hey, Allen, can’t you at least stop writing that stuff in your scripts? As for Husbands and Wives itself, there’s a reason why it generally holds up when compared to the other Allen films of that era: the intense navel-gazing eventually leads somewhere, and the film doesn’t even unfairly evoke the memory of Allen’s comedies. The mixture of Manhattan DINK lifestyle, documentary style and messy examination of personal foibles is certainly classic Allen, done in a still interesting-enough way compared to some of his later works. He also, as usual, gets great performances from his supporting cast: Juliette Lewis makes an impression in a more sedate role than the ones she’d play throughout most of the 1990s, a rising-star Liam Neeson barges into the plot and Blythe Danner makes a very quick appearance. Husbands and Wives is a kind of film best suited for adult audiences, not so much for any risqué content than because it’s glum and unromantic about long-term relationships—and it takes some living to relate to that.

Excalibur (1981)

Excalibur (1981)

ByChristian Sauvé Movie Review

(Google Play Streaming, December 2019) Coming at the intersection of Arthurian legend and the early-1980s fantasy film boom, Excalibur chooses to hold nothing back in presenting the knights of the round table in a decidedly fantastic context. Helmed by John Boorman, the film goes for maximal rule of cool—even limited by the special technology of the time, it’s meant to be spectacular with shiny armoured suits, grander-than-life soliloquies and a strong magical element. The cinematography makes great use of its Irish location, and the local casting means that this is not only one of Liam Neeson’s earliest screen credits, but also an early big-screen showcase for Gabriel Byrne, Ciarán Hinds and Patrick Stewart. Nigel Terry does well as Arthur and so does Nicol Williamson as Merlin, but it’s Helen Mirren who looks simply spectacular as Morgana Le Fay, eclipsing even Cherie Lunghi as Guenevere. The result is more impressive as a collection of nice scenes and images than a coherent plot—although my lack of enthusiasm for the Arthurian myth-making may be showing here. Still, I had a reasonably good time watching Excalibur in its overblown grandeur—it has its own strengths that manage to overcome many of its limitations.

The Commuter (2018)

The Commuter (2018)

ByChristian Sauvé Movie Review

(Netflix Streaming, September 2019) The first thing that comes to mind while analyzing The Commuter is the brazenness with which both lead actors Liam Neeson and director Jaume Collet-Serra boldly recycle the bare bones of one of their previous collaborations. As with the earlier Non-Stop, here we have a disgraced cop being manipulated in finding an unknown person aboard a closed transportation vehicle. It was a plane in the first film, it’s a commuter train heading out of Manhattan in The Commuter. This being the latest in a surprisingly long-running series of action movies starring Neeson, we already know the broad outlines of the plot. Of course, this is all a big conspiracy. Of course, he’s being framed. Of course, it’s going to go from one suspense set-piece to another. Of course, we’re going to stay on the train until the bitter end. Still, even with this heavy set of baggage and expectations, I ended up enjoying The Commuter far more than I thought I would. A little bit of this is due to (still) liking Neeson as an actor. A little bit is due to being sympathetic to Collet-Serra’s directorial style (although he’s noticeably less ambitious and/or crazy in his choices here). More than a little bit of it is due to my unexplainable fascination for the Manhattan commuter lifestyle (I blame Mad Men). And most of it is due to my own fondness for high-concept action thrillers, of which The Commuter definitely is. The film has fun playing with red herrings, audience expectations and a fairly large cast of characters. I can’t say that there are major surprises here despite the red herrings—for all of the minor plot twists and the spectacular crash at the end of the second act rather than the end of the film, we know that you don’t simply use actors such as Sam Neill and Patrick Wilson in small roles without bringing them back in a significant capacity at the end. Still, it’s well-handled, effective when it needs to be, and it feels as if it systematically exhausts all of the dramatic possibilities of its setting—a very favourable thing in my own playbook. Despite reaching retirement age, Neeson is absolutely rock-solid in the lead and that does help the film gain a credibility that it would have struggled to reach with another actor in the lead. While the result isn’t earth-shattering, The Commuter does work as an exemplary thriller and that’s quite enough.

Next of Kin (1989)

Next of Kin (1989)

ByChristian Sauvé Movie Review

(In French, On TV, September 2019) The interesting thing about going back in movie history and checking the lesser-known movies is that, from time to time, you get to discover something. Next of Kin isn’t that well known today, but have a look at this cast: Patrick Swayze, Liam Neeson, Adam Baldwin, Helen Hunt, Bill Paxton and Ben Stiller in one of his earliest roles. The premise also has some potential, what with Kentucky folks seeking revenge against Chicago mobsters who killed one of their own. Alas, the film itself doesn’t quite manage to justice either to its premise or its cast—although we do get to see Neeson, decades before Taken and the Liamsploitation craze, use his physical bulk to seek revenge for a fallen family member. Next of Kin comes closest to achieving is semi-comic potential in a climactic sequence set in a cemetery, with machine-gun-armed mobsters being outwitted by rural opponents using bows, bear traps and a bus full of snakes. But that’s a very short section in what feels like a much longer film that tries far too hard to play things seriously and ends up simply being bland. Swayze isn’t bad (especially playing off Hunt’s minor role or Neeson as his brother) but the script simply doesn’t fully seize upon what it had at its disposal. The cinematography is largely undistinguishable from countless other urban crime thrillers, and the direction isn’t much either: For all of the semi-fizz of a sequence set atop Chicago transit trains, the script itself just goes through the expected motions most of the time. Too bad for Next of Kin … but have you seen that cast?

Widows (2018)

Widows (2018)

ByChristian Sauvé Movie Review

(On Cable TV, July 2019) At first glance, it felt strange to have acclaimed writer-director Steve MacQueen tackle a seemingly straightforward thriller project—his movies so far aimed at more mainstream dramatic sensibilities. But “let’s wait and see” is the right kind of attitude in response to such news, and from the get-go Widows proves that MacQueen certainly know what he’s doing. Delivering on thrills while digging far deeper in its characters than most genre films, Widows tackles the heist genre with a desperate urgency for its soon-to-be-destitute characters, delivering car chases and suspense while offering a plot where a surprising number of characters aren’t always what they seem. Genre expectations are frequently dashed, whether we’re shown a municipal race where white-heir vs. black-activist isn’t a straightforward choice, where initial character impressions are misleading, and where we’re offered quite a different heist team than usual. Comparisons with Ocean’s Eight are instructive, in that Widows doesn’t think heists are comic, goes for straight hard cash rather than fancy jewelry and spends much of its time in preparation rather than execution. The ridiculously talented ensemble cast is wondrous enough—Viola Davis is ferocious here, sometimes even sexy; Colin Farrell turns in a nicely nuanced portrait that goes beyond that of an antagonist the audience is primed to hate; Robert Duvall is remarkable in three short scenes; Elizabeth Debicki is a revelation (she’s a familiar face, but never used as well as here); Michelle Rodriguez fulfills some of the promise she’s had as a dramatic actress; Liam Neeson turns in an inversion of his usual action hero roles; and Daniel Kaluuya makes for a fearsome antagonist. But the MVP here remains MacQueen, who sets up some shots so beautifully that you only realize what they mean at the end of them, with long soaring camera takes and an ability to deliver exciting action sequences like a seasoned action professional. Widows is a complete and satisfying package for crime fiction fans—a socially relevant tale of heist and personal growth, using disfavoured and marginalized heroes to heighten the stakes beyond what they usually are. There’s a place for both the comic Ocean’s series of movies and for Widows, but since there’s been a death of Widows-like films lately, this one is a welcome sight.

Rob Roy (1995)

Rob Roy (1995)

ByChristian Sauvé Movie Review

(On Cable TV, March 2019) Is Rob Roy the underrated Scottish epic drama of the mid-1990s? Yes. All the attention goes to Braveheart, but (dare I say it?) I preferred Rob Roy. In the subgenre of non-Englishmen being persecuted by Englishmen, it also spends a lot of time doing Scottish mythmaking, but feels more honest about it. The landscapes of Scotland are beautifully photographed, and while Michael Caton-Jones may not a particularly flamboyant director, he gets it right when it counts. His touch helps ensure that the film’s execution trumps its standard material. One element that helps Rob Roy a lot is Liam Neeson’s extraordinary performance—a role only he could play in combining his imposing physical presence with his exceptional dramatic skills. The straightforward revenge plot isn’t surprising, but it’s sufficient for the purpose of myth-making, and it all leads to a very impressive climax. The final sword-fight is a high point of action filmmaking, especially when compared to most other instances of showy sword-fighting in films—this isn’t flynning as much as it’s a credible, painfully physical sequence that still stands as an anthology piece. It’s not the entire reason to see Rob Roy, but it certainly helps cap off a well-made film that withstands comparisons with its Oscar-winning counterpart.

The Dead Pool (1988)

The Dead Pool (1988)

ByChristian Sauvé Movie Review

(In French, On TV, November 2018) Each Dirty Harry movie gets worse and worse, and The Dead Pool marks not only the end of the series, but the cul-de-sac in which its increasing self-parody could lead. As the film begins, Harry Callahan has become enough of a celebrity that he qualifies for inclusion in a municipal death pools—that is, predictions on whether he will soon die. The plot gets going once someone decides to hasten his demise, motivated by overall psychopathy and revenge. Clint Eastwood sports yet another hairdo here, and I can’t underscore how weird it feels to see Callahan’s character in the firmly established 1980s: He’s such a creation of the 1970s that it just feels wrong to see him compose with the worst clichés of the decade, including Guns’n’Roses. (Sudden Impact, the fourth film of the series was indeed set in the eighties, but its small-town setting and early-decade product means that it still felt like the seventies.) It gets worse once you see Callahan interact with up-and-coming actors that would achieve notoriety a decade later: pay attention, and you’ll see Jim “James” Carrey, Liam Neeson and Patricia Clarkson (looking like Natasha McElhone!) in supporting roles adding to the weirdness. Mind you, the film has enough contemporary weirdness on its own—Callahan is here written as a self-parody, fully indulging in the worst traits of his character. The nadir of the entire Dirty Harry cycle can be found in the silly car chase featuring… an explosive remote-controlled car. (Nobody will be surprised to find out that Callahan’s car does not survive the film, as noticed by the characters. And we won’t bring up what happens to Callahan’s partners.) The Dead Pool feels like an overextended joke, a wholly useless entry in a constantly declining series. Amusingly enough, it’s not even included in many of the Dirty Harry compilations on the market, which should tell you enough about it.

Krull (1983)

Krull (1983)

ByChristian Sauvé Movie Review

(In French, On Cable TV, April 2018) What the heck is this?!  Krull has to be seen to be believed. I don’t think it could have existed at any other time but 1983, bathing in an unholy stew of Star Wars and Conan references, before everyone woke up and realized how bad of an idea it was. An incoherent, possibly insane blend of science-fantasy, Krull goes through the motion of creating an iconography without first making sure that it has some substance. As a result, the script feels as if it’s been thrown in a blender and half the sequences improvised on the spot. The special effects go everywhere and do everything, tearing apart the flimsy story underneath. The cherry on the sundae is seeing Liam Neeson in one of his earliest roles as a bandit—Neeson looked old and physically imposing even in his twenties. Reading about the complicated, almost disastrous production of the film reminds us of everything that’s wrong about big-budget movies cashing on sudden trends—aimless direction, outclassed filmmakers, incoherent production and no central vision resulting in everything being thrown on-screen. To be fair, Krull being bad doesn’t mean that Krull isn’t entertaining—the amount of work and insanity required to complete the project can be felt even three decades and a half later, making it curiously compelling to watch if only to see what else will come up to exceed the previous scene’s inanity. We don’t always watch movies because they’re good. Sometimes, we watch them because there’s nothing else quite like it.

A Monster Calls (2016)

A Monster Calls (2016)

ByChristian Sauvé Movie Review

(On Cable TV, October 2017) There’s an interesting twist at play in A Monster Calls, in which a young boy’s grief for his terminally ill mother is explored through spectacular use of fantasy imagery. It’s not a genre fantasy film per se (in that you can argue for a rational interpretation if you try hard enough), but it’s certainly a drama enhanced with genre elements. The downside of such a distinction is that the film is never as dull as when it’s strictly realist—it’s when the story goes on imaginary tangents and a gigantic yew tree starts intervening in the plot that A Monster Calls is at its best. The stories told to the boy are executed though very stylized animation, and those moments are the highlights of the film … until the ending, in which fiction, dreams and strong emotional reactions all come together in a big catharsis of a conclusion. The art direction of the film is spectacular in those fantasy sequences, and the way the 3D art seamlessly blends itself in scene transitions is reminiscent of the best that 2D animation had to offer. Acting-wise, Liam Neeson impresses with a strong vocal performance at the tale-spinning tough-love tree. Otherwise, director J.A. Bayona’s skill in balancing the various components of A Monster Calls are on display here, all culminating in a conclusion much stronger than the rather pedestrian set-up would initially suggest. 

Les Misérables (1998)

Les Misérables (1998)

ByChristian Sauvé Movie Review

(In French, on Cable TV, April 2017) The most famous big-screen version of Victor Hugo’s novel Les Misérables has to be the 2012 film which adapted the musical on the big screen. I thought it was annoying, boring and exasperating, but I’m far more upbeat about the straightforward 1998 version. Featuring no less than Liam Neeson and Geoffrey Rush in the lead roles (with some assistance by Uma Thurman and Claire Danes, plus a blink-and-you’ll-miss-it minor role by a then-unknown Toby Jones), Les Misérables cleverly focuses on the essential aspects of the original, convincingly re-creates the historical period and manages to wring a lot of emotional impact out of its dignified treatment of the subject. It’s not exactly a thrill ride, but it unfolds at a steady pace for a historical drama, and it doesn’t overstay its welcome through repetitive musical numbers. While the 2012 version does have a few more spectacular moments (helped along by the state of special effects circa 2012 versus 1998), the non-musical version feels more focused on the story and more satisfying as a result.

Schindler’s List (1993)

Schindler’s List (1993)

ByChristian Sauvé Movie Review

(On Cable TV, August 2016) Whew. I’m not going to try to give a coherent review of Schindler’s List, but it has certainly earned its notoriety, awards and enduring reputation. More than twenty years later, it hasn’t aged, and in fact may have appreciated in some respects—the last sequence, presenting Holocaust survivors who have largely died since 1993, will only grow more impressive as a time capsule. Both Liam Neeson and Joseph Fiennes are terrific in their roles—there’s even a bit of canny physical casting going on with Neeson, given how his height often allows him to effortlessly become the focus of group scenes. But what’s perhaps most astonishing about Schindler’s List is how it works despite ignoring conventional wisdom. Its most transcending moments are found in digressions from the story it could have told more economically, whether it’s showing what happens to the luggage of people being hauled away to concentration camps, or a lengthy sequence detailing the liquidation of the Cracow ghetto, or another scene in which terrified women are forced into a group shower where they fear the worst. Those highlights are, at best, tangential to the film’s story about a businessman who saved more than a thousand people from being killed in concentration camps. But they pack an emotional punch that raise Schindler’s List far above countless more mechanical attempts at portraying the horrors of the Holocaust. If it means that the film is a massive 197 minutes long, then so be it: it’s so good that it passes by quickly. The essentially black-and-white cinematography is terrific, and hasn’t perceptively aged today. Director Steven Spielberg has achieved an artistic and humanitarian masterpiece here, and has done so in the same year he delivered his blockbuster Jurassic Park. Neither of these films are going away, but Schindler’s List has the added appeal that it will never be remade. Who can even pretend to retouch quasi-perfection?

Taken 3 (2014)

Taken 3 (2014)

ByChristian Sauvé Movie Review

(Netflix Streaming, November 2015) It may be time to sit down with Liam Neeson for an intervention.  For all of the money he must be making in doing these action thrillers at an age where most actors are trying to slow down, it’s not movies like Taken 3 that will make up his end-of-career highlights reel.  Duller and clunkier than most action thrillers, Taken 3 stays near Los Angeles in depicting a third family crisis for Neeson’s protagonist.  This time, though, the film dares to kill a returning character and the protagonist’s fury seems curiously tame compared to the first two films.  But then again, he’s being followed by criminals and the police.  Less xenophobic but far less interesting, Taken 3 struggles with the bare essentials of its genre: the action sequences are badly directed by Olivier Megaton, with choppy editing, incoherent sense of space and uncontrolled dramatic progression.  Taken 3 is lazy filmmaking at best, almost uninterested in its own story on the way to delivering another film in the series.  It doesn’t do much, wastes the dramatic potential of a death in the family and feels rote even at the best of times.  Neeson is far better than the material, and he’s the sole reason why this wasn’t a straight-to-video release.  What’s more damaging, though, is that he’s getting to be, well, a bit boring in these action roles.  Next to the underwhelming Run all Night and A Walk Among the Tombstones, we’re far from the dramatic heft of The Gray, or the bonkers action of Non-Stop or The A-Team.  I hope he starts picking better projects soon.

A Walk among the Tombstones (2014)

A Walk among the Tombstones (2014)

ByChristian Sauvé Movie Review

(On Cable TV, July 2015) As much as I enjoy seeing Liam Neeson taking on action roles in borderline-exploitation thrillers, the problem is that he’s usually far better than the movies surrounding him, and he’s such a good actor that an unintentional layer of irony surrounds his Liamsploitation streak.  So it is that his most enjoyable roles have been in over-the-top thrillers, from Non-Stop to Unknown to The A-Team to Taken.  With the unusual exception of The Grey (serious film ; fantastic role), he doesn’t do as well in straight-up crime thrillers like A Walk Among the Tombstones, a humorless and dark suspense film in which he plays a private investigator tracking down the murdered wife of a mobster and finding a pair of serial killers.  It’s a dirty grimy little tale, and while Neeson is irreproachable as an ex-alcoholic retired cop turned to private investigations, the film itself is far duller than it ought to be.  In other words; Neeson is awesome, the film is not fun.  Adapted from a late-sequence Scudder series novel by Lawrence Block, the film sometimes feels like an overblown TV series pilot, complete with the story of how the protagonist meets and befriends his sidekick.  While it would be churlish not to like the result as a run-of-the-mill suspense film, seeing Neeson headlining the film does bring up unfair expectations.

Run All Night (2015)

Run All Night (2015)

ByChristian Sauvé Movie Review

(Video on Demand, June 2015)  Are we ever going to get enough of Liam Neeson as an action hero?  Maybe not just yet, especially when he can elevate straight-up genre material with a good performance.  In Run All Night, he plays a little bit more downtrodden than usual as a Mob enforcer far past his prime, reduced to playing Santa Claus for his boss’ family in order to pay his heating repair bills.  He is being kept around out of loyalty by the Big Boss (Ed Harris), but when things heat up and his estranged son kills the Boss’ son, the usual rules don’t apply and what follows is a night-long chase through New York, as organized crime, hired assassins and the police all try to find our heroes.  It gets a bit complex at times, but the point is seeing Liam Neeson’s character regain his dignity and (once again) save his family from harm.  Director Jaume Collet-Serra seems a bit more restrained than usual here, although the frantic Google-Earth-inspired scene transitions give a taste of his trademark directorial insanity.  There are no crazy plot twists, though, as Run All Night remains a straightforward crime thriller, all the way to a relatively conventional ending.  It’s not quite as compelling as other Liamspoilation movies, but there’s undeniable satisfaction in seeing Neeson face off against Harris (even if mostly by phone) in a grim dark thriller with some thematic depth.  It probably could have been a bit better – Joel Kinnaman is a charisma void in one of the film’s major roles and the script could have used a bit of tightening up.  Neeson can do better, Collet-Serra can do better, we viewers can do better.  But as far as such crime thrillers go, it’s a solid middle-of-the-road effort.