Director : Jaume Collet-Serra
Cast : Liam Neeson, Vera Farmiga, Patrick Wilson, Sam Neill, Elizabeth McGovern, Jonathan Banks, Dean-Charles Chapman
Genre : Thriller/Action
Run Time : 1h 45 min
Opens : 11 January 2018
Rating : PG-13
Commutes to and from work generally aren’t fun. We get on the bus or the train, and just want it to be over with. It’s less fun when the mass rapid transit system breaks down, or shuts down for full days for maintenance. No, we’re not speaking from personal experience, why do you ask?
For Michael MacCauley (Liam Neeson), his commute home from work becomes something worse than “not fun” – a matter of life and death. Michael is a New York police officer-turned insurance agent. On the Metro North Hudson Line, Michael is approached by Joanna (Vera Farmiga), a woman whom he’s never met. Joanna gives Michael a task to solve, promising a financial reward. This mission seems simple, but gets deceptively complicated.
The puzzle soon turns deadly, and Michael must track down a mysterious passenger on the train and secure a sensitive item they’re carrying, or disastrous consequences will ensue. In addition to the passengers on the train, the lives of Michael’s wife Karen (Elizabeth McGovern) and son Danny (Dean-Charles Chapman) are at stake. Michael turns to his former police partner Alex Murphy (Patrick Wilson) for help, but the shadowy forces controlling the game are watching Michael’s every move.
The Commuter re-teams Neeson with director Jaume Collet-Serra, who helmed Unknown, Non-Stop and Run All Night. Neeson did not star in Collet-Serra’s last film The Shallows, truly a missed opportunity to have Neeson voice the shark. It’s easy to see why the star and director were attracted to the screenplay, written by Byron Willinger, Philip de Blasi and Ryan Engle. This promises to be a Hitchcockian mystery thriller, a little bit Strangers on a Train, a little bit North by Northwest. It’s a safe distance from the generic “guy holding a gun while grimacing” action thriller, which Neeson has done his fair share of.
Collet-Serra is adept at setting moods, and while he has overdosed on the stylistic flourishes in previous films, there’s just the right amount of flashiness here. We get moments like the camera pulling through a hold punched in a train ticket that’s slotted into the back of a seat, and a Vertigo-style dolly zoom effect for good measure. It offsets the dullness of the train car setting. Production designer Andrew Bridgland does a commendable job of creating an entirely believable set.
However, it soon becomes clear that this train is on a somewhat rickety set of rails. The set-up is so engrossing and the tension so masterfully constructed, one can’t help but think “the pay-off can’t be that good, can it?” When all is revealed, it’s far from a cop-out, but is still something of a let-down. The conspiracy at the heart of Michael’s predicament is patently mundane, and while the film runs through as many twists as possible before reaching the denouement, said denouement is hardly surprising. The climactic action set-piece is also a mite overblown, heavy on the visual effects and at odds with the grounded feel the rest of the movie was going for.
Neeson is as dependable a leading man as ever, and some aspects of the character have been tailored to him – Michael is an Irish immigrant, so Neeson gets to use his natural accent. Michael is meant to be a relatable everyman, but was also a cop, which functions as a built-in excuse for why he’s so good at fighting. Even so, several sequences strain suspension of disbelief, but they’re as exciting as they are outlandish so we’ll let that slide.
Neeson is pulling almost all the weight here, and the supporting cast features several interesting actors who are almost entirely wasted. Jonathan Banks, familiar to Breaking Bad fans as Mike the Cleaner, gets a nearly non-existent part. The Conjuring stars Patrick Wilson and Vera Farmiga, who don’t share any scenes here, are both somewhat memorable but still underutilised. Sam Neill does almost nothing. Perhaps it’s part of strengthening the red herring effect, in that we know so little about all the other characters that everyone is a viable suspect, but it’s disappointing that Neeson doesn’t get to play off any of these other performers.
The Commuter is a good deal more interesting that your average disposable released-in-January action thriller, thanks to Collet-Serra’s confident direction and an initially-fascinating mystery. Liam Neeson is also doing a little more than the typical running and gunning we’ve seen from his recent oeuvre. Unfortunately, there’s a good deal of unintentional silliness to contend with, and the resolution to the mystery is efficient but ho-hum.
RATING: 3 out of 5 Stars