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Movie Reviews

The Commuter



Reviewer: Philip Price

Director: Jaume Collet-Serra

Stars: Andy Nyman, Clara Lago, Dean-Charles Chapman, Elizabeth McGovern, Ella-Rae Smith,Florence Pugh, Jonathan Banks, Killian Scott, Liam Neeson, Patrick Wilson, Roland Møller, Sam Neill, Shazad Latif, Vera Farmiga

Released: January 19th, 2018

In their fourth film together, director Jaume Collet-Serra and Liam Neeson have seemingly set the bar too high with their previous three efforts that include UnknownNon-Stop, and Run All Night to make this as enjoyable as it probably is. You may also be familiar with Collet-Serra’s style via last summer’s sleeper hit The Shallows, but while the expert B-movie director and his late-in-life action star may have proved to be a collaborative dream team in the past when it came to crafting guilty pleasures the excitement within the relationship seems to have worn off a bit with their latest, The Commuter. It’s funny because everything one could hope for from a Collet-Serra/Neeson collaboration is here in terms of the plotting, tension, and action spectacle, but while it is evident from the opening title sequence that Collet-Serra is going for something a little more nuanced than a movie like The Commuter might actually deserve the film ultimately falters in this ambition as it ends up feeling rather hastily put together via a rookie screenwriting duo (Byron Willinger and Philip de Blasi) that was then seemingly revised by Non-Stop screenwriter Ryan Engle. This makes sense given The Commuter is more or less Non-Stop on a train, but no matter how little or how much effort was initially put in by Willinger and Blasi and/or how much of an overhaul Engle ended up doing the biggest problems with The Commuter still boil down to the screenplay and its slight excuse of a story. One can feel Collet-Serra attempting to infuse this thing with style and nuance as well as Neeson giving everything he seemingly has left in his aging body that might inspire him to continue the fight. The veteran actor is frazzled though, and that mentality is kind of present from the get-go. At this point we know the routine and we understand the stakes-The Commuter needed to do something to break the monotony as Run All Night did exceptionally well as compared to this, but instead this latest in the long line of varied actioners that compose Neeson’s career resurgence as an action star is a middle of the road effort; something that looks the part and acts the part, but doesn’t feel authentic in its portrayal of what it’s actually supposed to be.

So yeah, in The Commuter Liam Neeson is an insurance salesman who commutes to work every day and through the course of the day we find out that not only has the poor guy, named Michael MacCauley, been let go, but also that he is a former cop who worked alongside Patrick Wilson’s Alex Murphy for some time before retiring for reasons that don’t seem to ever be made clear. This may or may not have something to do with the stock market crash of 2008 when MacCauley and his wife, Karen (Elizabeth McGovern), lost all of their savings, retirement, etc. making it difficult for them at the moment as their only son is getting ready to go away to college. This is all weighing on MacCauley’s shoulders as he boards the train to head home. As such events might go, MacCauley is then approached by a mysterious woman named Joanna (Vera Farmiga) who offers the vulnerable MacCauley a proposition he is unable to refuse. Joanna sets it up by phrasing it as an able task for an ex-cop that requires Neeson’s character to track down a certain passenger of which all he knows are the person’s name, their stop, and that they are carrying a bag. If MacCauley accepts he can have the $25,000 that has been stashed in one of the compartment restrooms and if he completes the task successfully he will gain an additional $75,000. Not a bad deal considering all he has to do is identify a person and given his current circumstances. Naturally, things are a bit more insidious than Joanna initially lets on as Farmiga’s character gives no reason for her visit, no idea as to her intent, or who she works for beyond her profession that entails reading different people and their personalities. This would hint at an interesting road for the film to take; Neeson’s character getting to know different riders on the train so as to use deductive reasoning to narrow down the suspects and figure out who he is supposed to be escorting to whoever Joanna works for, but from the get-go MacCauly is more anxious than he is thoughtful leading to a series of over-aggressive, unplanned, and easily regretful mistakes that MacCauley doesn’t seem to give a second thought to. This all quickly devolves into Neeson using his former cop skills to do some detective work that feels so sporadic there is no meaning or connective tissue to which the plot then seemingly realizes it has to answer these odd, but convenient in terms of intrigue questions in order to iron out the third act and so rather than a bonkers race against time The Commuter becomes an exposition dump that doesn’t mesh with the director and star’s prior efforts.

You might be thinking that if my qualms are around the weakness in plot and that plot’s execution that I’m missing the point of these annual Neeson actioner’s, but I assure you that is most definitely not the problem as I’ve often embraced these excursions for exactly the reasons of them being able to execute a rather thin or weightless plot in a manner that is exceedingly engaging and ultimately smarter than one might initially give them credit for. I was naturally hoping to do the same with The Commuter, but this one isn’t enough fun to excuse what might be the most blatant in terms of lazy storytelling. Again, this is largely from a perspective of a guy who thought Run All Night was the best of the Neeson/Collet-Serra collaborations and was therefore looking forward to what this next film might entail as that previous picture broke away from the polished and perfected glean of both Unknown and Non-Stop while still squarely fitting into a genre. Run All Night was dirty and grimy and while recognizable as a certain kind of film, it didn’t necessarily adhere to any one set of expectations. To be fair, The Commuter doesn’t necessarily adhere to any kind of expectation considering it exists within the same B-movie genre as those aforementioned films, but it doesn’t fulfill any of them either. There are some attempts by the script to be about something more just as there are obvious strides taken by Collet-Serra to make what was on the page stand out, but while the premise is intriguing enough and the direction precise in working with what it has to work with the final product simply isn’t as thrilling, interesting, or fun as it should be. This isn’t even a case of expecting the film to be one thing and it failing to meet those expectations by being something entirely different, but rather it is a film that attempts to be both a rehash of what we’ve seen these collaborators attempt before by enlisting a different tone and a set of more vague plot devices that doesn’t end up working in any entertaining fashion. Maybe that’s a little too harsh as, before you find out what the deal is with Neeson having to track down this particular individual in order to save his floundering financial life there is some intrigue and it’s always fun to watch as Neeson’s domineering presence integrates itself with others and how his special brand of justice goes about achieving his objective-even if the screenwriters set-up one way of deriving such information and then completely abandon it in the face of Liam Neeson: action hero!

If this is disappointing news to you, trust that it was disappointing to this reviewer as well. The Commuter is a film that pitches Neeson as this ex-cop turned insurance salesman that is a generally good husband and an invested father (he reads the books his son has been assigned in school so they can work through essays and book reports together) and so we get this very middle class sense. This idea that the film is really wanting to hit home the everyman quality of MacCauley that is evidenced even further by the first extended piece of dialogue Neeson spouts in the film. There is a sense that Neeson is simply trying to make it paycheck to paycheck while putting enough away to save for his son’s college tuition and catch-up on the retirement he and his wife may no longer be able to enjoy as blissfully as they expected. This stands to reason as, once MacCauley boards the train and the movie introduces us to the fellow passengers-both in the ones MacCauley knows from his time commuting and those he is unfamiliar with-there is very much this spirit in the themes of the movie that tell the audience it’s a corrupt world and that there is no room in this world for the little guy to get a piece of the pie. This mentality even that, despite being a soldier for a good cause that a lot of the time more soldiers end up casualties than they do heroes who prevail for the cause they were intially fighting for. It’s a pessimistic view to have, but not completely wrong or as easily dismissed as most would like to believe it to be. The best line in the film references an old Irish saying that goes, “If you want to know what God thinks of money, look at who he gives it to.” It’s a solid jab and it works in the context of what the movie essentially becomes in that of a rallying cry for good people to do the right thing instead of fall to the greed or corruption of a system that only seems to reward those who are out only for themselves. This is all well and good, but for a movie that begins as a mystery based around one man’s ability or inability to assess those around him and not simply judge these books by their covers that becomes an off the wall action/thriller where the action is spastic and the thrills minimal The Commuter is a movie that time and time again doesn’t manage to deliver on its own promises or follow through on its (not so big, but honorable) ideas. Wilson and Farmiga are both criminally underused here with the obvious joke that this isn’t actually a tie-in to The Conjuring universe no doubt already being told many times, but still disappointing it doesn’t pull a Split-like mid-credits reveal as that might have made this underwhelming crime drama more satisfying. At least the movie credits its own circumstances to be as outrageous as they indeed are hinting that maybe next time Neeson and Collet-Serra will be ready to truly go off the rails in the best way possible.

I love movies, simple as that. I watch them with an intent to write about them and have always enjoyed discussing the latest news and releases with others. I received a Bachelor of Arts in Writing and Mass Communications/Digital Filmmaking and combined those interests when I began writing about cinema. Hope you enjoy the reviews, Happy reading!

Movie Reviews

LFF 2018 Review – Colette

Colette can feel a tad velvety at times but is lifted by Keira Knightley’s sensual performance and liberating battle that painfully resonates today.



Director: Wash Westmoreland

Stars: Keira Knightley, Dominic West

Released: London Film Festival 2018

Born in 19th century France, Sidonie Gabrielle Colette wrote more than 80 volumes depicting her childhood, her life, her pains and pleasures. Her writings were sensual, vivid and all published under her husband name, “Willy”.

No stranger to female-centric stories, Wash Westmoreland follows up on “Still Alice” and “Echo Park, L.A.” with this dazzling period biopic starring Keira Knightley and Dominic West.

The film starts, the young country girl, Colette (Knightley), marries writer and critic Henri Gauthier-Villars (“Willy”) who introduces her to Parisian salons. Willy soon finds himself in debts and is desperate enough to seek his wife’s help. She will write. Colette writes what she knows and her first novella, “Claudine à l’école” (Claudine at school) is a success. Willy forces her to write the next ones, locked in a golden cage, to ensure his fame and success.

The settings are sumptuous and we gladly follow the camera through the stunning but confined Parisian apartments where the outside light only comes through when she feels inspired. Costumes evolve, as Colette, from heavy and restricted dresses to wild and daring clothing as if Mademoiselle Chanel had designed them herself.

Colette finally loosens from her husband and experiments with woman, society and dancing, feeding her inspiration. Forced and uncredited, Colette cannot enjoy writing and runs off to perform in the music-hall in her own name. In like most biopics, we go from one key event to another, regrettably quickly and often without knowing how we got there. Willy’s sudden appointment of his wife is left as unexplained as the abrupt ending that could have potentially seen Colette, a happy writer.

In the second part of the film Westmoreland seems more interested in looking at the awakening of a young woman rather than at the birth of an author whereas Keira Knightley shines in the lead role. Often known for playing the innocent and rebellious youth, Knightley still pulls off the young Colette in the first part of the film but is at her best when she evolves into a mature woman, aware of own desires. The best scenes of the film come when Colette is free and herself, usually in the company of other woman, particularly the terribly charming Missy (Denise Gough). Westmoreland multiplies two shots and close ups and creates impactful intimate scenes but regrettably gives up on them too fast.

It is a change to see a character such as “Willy” that is both ridiculous and loving. This duality creates, perhaps, a more truthful relationship between the two. No one is born an artist and behind every writer there is an intuitive editor (and in 20th century France, who else could it be than a man?). For Westmoreland if there is no Claudine without Colette, there would have been no Colette without Willy.

With its lavish setting and jumping plot, Colette can feel a tad velvety at times but is lifted by Keira Knightley’s sensual performance and liberating battle that painfully resonates today.

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Movie Reviews

LFF 2018 Review – If Beale Street Could Talk



Beale Street Movie Marker

Released: 8th February 2019

Directed By: Barry Jenkins

Starring: Kiki Layne, Stephan James, Regina King, Colman Domingo, Teyonah Parris, Brian Tyree Henry

Reviewed By: Darryl Griffiths

In his entrancing and eventual Best Picture Oscar winner ‘Moonlight’, it was the longing to be authentic. To be accepted in an often volatile environment that powered its narrative.

Clearly in this pitch-perfect adaptation of the James Baldwin novel, director Barry Jenkins is consumed with longing of a different kind that is just as potent. Justice. An eradication of the infuriating systemic abuse of law and power against black people in America, that sees this luminous love story in 1970’s Harlem, strike modern-day parallels with our own divided, morally skewed society.

An incandescent portrayal of young romance. The tenderness, respect and sheer revolve that underpins the relationship between Tish (Kiki Layne) and Fonny (Stephan James) will leave you spellbound from the outset, as their lives are soon mired in despair. The rapturous joy of new life as Tish falls pregnant, backed up by the triple threat of mom Sharon (Regina King), dad Joseph (Colman Domingo) and sister Ernestine (Teyonah Parris). Quickly cancelled out by the malice of Fonny’s staunchly religious family and a false yet potentially devastating rape allegation made against him, as they scramble to prove his innocence.

Punctuated by Kiki Layne’s wholesome narration and an overwhelmingly beautiful Nicholas Brittell score that i would be content listening to for days on end. Jenkins exchanges the melancholic blues of his previous effort for a broader but no less lush visual palette, with its exquisite interiors and classy costume design almost serving as a rainbow for the tears that have streamed down their faces through such hardship, but their spirit and love continues to illuminate their gritty surroundings. Whether it be lingering close-ups of sweet embrace or deep sorrow. Its director doesn’t flinch for a second in conveying the simmering emotions on display and in doing so, leaves you completely transfixed by his tactful approach to the source material.

There is a raw resilient energy that permeates throughout its central romance. Kiki Layne’s Tish serves as the remarkably understated, calming influence to Stephan James’ broken-hearted prisoner, a slave to a corrupt system with a searing monologue by Fonny’s dear friend Daniel (Brian Tyree Henry) reinforcing the pain inflicted. Through it all, their hopeful adoring looks and stifling intimacy simply captivate. In Regina King’s marvellous mother figure, she peppers the film with considerable candour, armed with dialogue that pierces your soul. Whilst Jenkins leaves enough room for inspired cameos that are best left a secret, which gorgeously represent a sense of community and a progression in attitude, that defies the period.

A steady panning shot as Fonny smokes may seem throwaway. In this case, it is awfully fitting to articulate the finesse of its director. Lose yourself in the mesmeric haze of ‘If Beale Street Could Talk’.

A lyrical experience that reminds you of the poetic power cinema can truly possess. His love for the art form brought him here. On this form. Trust Barry Jenkins to go all the way.

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Movie Reviews

LFF 2018 Review – Stan & Ollie



Stan and Ollie Rating Movie Marker

Released: 11th January 2019

Directed By: Jon S Baird

Starring: Steve Coogan, John C.Reilly, Shirley Henderson, Nina Arianda

Reviewed By: Darryl Griffiths

Products of classic Hollywood whose superior slapstick routines triggered endless laughter from their legion of fans, propelling them to legendary status. The sheer physicality and comedic prowess displayed by the English/American duo of Stan Laurel and Oliver Hardy, still puts many modern-day efforts to shame.

But like so many comedians, there is a tragic element to their careers that contradicts their profession. Through this solid biopic by Filth director Jon S. Baird, it looks to give us a poignant insight into the duo’s grueling twilight years.

Their popularity slowly dwindling. Their bones creaking. Whether on the big screen or the stage, Laurel (Steve Coogan) and Hardy (John C.Reilly) are suddenly not the hottest ticket in town in the early 1950’s. Lumbered with Rufus Jones’ Bernard Delfont, a wisecracking promoter who seems more invested in the likes of Norman Wisdom, they look to reignite interest with a lengthy theatre tour and a long-gestating film project. Yet with audiences middling, contract negotiations stalling and the workload far beyond what was expected, it puts a significant strain on the health and friendship of these two towering talents.

Inevitably with its story, you would expect ‘Stan & Ollie’ to be assured in its abilities to make you laugh. However much of the first half feels surprisingly stilted as Coogan and C.Reilly throw themselves into the pair’s much-beloved routines, with regular cutbacks to their adoring audiences. For the uninitiated, it may initially make you wonder what the fuss was about. Thankfully as the film’s supporting players are introduced to spar with our central characters, it finds a more consistent comedic rhythm, neatly intertwining with the film’s simmering emotion.

Whilst it’s undoubtedly a few visual flourishes away from being a formulaic BBC Christmas special. The admiration of S.Baird for Laurel & Hardy certainly shines through in its refined production, beginning with an exquisite tracking shot on a studio lot as he works his way through the duo’s masterful mischief with fondness.

The rapport between John C.Reilly and Steve Coogan anchors proceedings wonderfully, skilfully capturing the mannerisms and effectively articulating how dependent they are of each other, despite their ongoing disputes. In C.Reilly’s Ollie, his fully-fleshed turn pierces through the fat suit he wears, whose willingness to perform despite failing health is soul-stirring. Whilst the relentless nature of Coogan’s Stan, as he looks to churn out the material strong enough to breathe new life into their double act, makes for compelling viewing. The real danger posed however, is that the film’s main attraction are nearly upstaged by their witty wives, with Shirley Henderson’s Lucille and Nina Arianda’s Ida threatening to steal every scene they grace.

Entertaining enough to gently applaud. Yet perhaps not an act that quite raises the roof. ‘Stan and Ollie’ coasts by on its endearing nostalgic charm and committed performances.

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