Liam Neeson’s latest film, *Absolution*, directed by Hans Petter Moland and written by Tony Gayton, steps into the arena of crime thrillers with a narrative that feels all too familiar. At its core, the film is encased within the well-worn trope where a flawed protagonist seeks redemption before the curtain closes on their life. Neeson plays a character cryptically referred to as Thug, an aging gangster contending with the grim finality of a terminal diagnosis. This setup raises expectations for an exploration of redemption, father-daughter dynamics, and the consequences of a life steeped in crime. However, upon closer inspection, the film struggles to deliver a fresh perspective on these themes.
The portrayal of Thug’s relationship with his estranged daughter, Daisy, played by Frankie Shaw, emerges as one of the film’s focal points. While Neeson brings his usual gravitas to the role, Daisy’s characterization suffers from a lack of depth. She is introduced as a single mother dancing to make ends meet, confronting eviction and personal hardships, yet the narrative only scratches the surface of her struggles. The film raises pertinent themes of familial responsibility and socio-economic challenges but ultimately settles for superficial interactions that fail to illuminate the complexities of their relationship. Instead of a nuanced portrayal of a father-daughter reunion, their bond rests on mere financial resolutions—an all too convenient plot device.
*Absolution* ventures into subplots involving human trafficking and LGBTQ dynamics but falters in meaningful execution. Neeson’s reveal about his son’s tragic death due to addiction resonates momentarily yet dissipates quickly amid the film’s chaotic narrative structure. The rushed treatment of these storylines hints at a deeper social commentary that is never fully realized. The casual admission of his son’s sexuality is brushed aside in a way that feels like an afterthought rather than a profound character moment. As these narratives unfold, they serve more as token inclusions rather than as integral parts of the story, which leaves a disheartening gap in the narrative richness.
Action and Pacing
While one might approach *Absolution* anticipating action fitting for a Liam Neeson film, the execution can feel disjointed. The film is punctuated by sporadic shootouts, yet these moments often lack tension and coherence. A notable scene featuring a shootout goes unnoticed, drawing into question the realism within the film’s Boston setting. For a runtime of 122 minutes, one might expect a more consistent rhythm—a balance of action and emotional depth. Instead, the pacing feels erratic, leading to an unsatisfying experience that oscillates between moments of excitement and stretches of narrative stagnation.
Visually, *Absolution* captures the essence of Boston beautifully, showcasing its streets and skyline to great effect. However, the film’s aesthetic appeal can only carry it so far when the substance is thin. Audiences may find themselves distracted by the picturesque representation, yearning for a script that matches the cinematic polish. The film does feature commendable performances from the ensemble cast, including an underused Ron Perlman as Thug’s boss, but these efforts can’t fully compensate for the weak narrative thread that intertwines their characters.
*Absolution* grapples with significant themes of redemption and familial estrangement but ultimately falls short in execution. The film presents a myriad of compelling ideas and character arcs, yet these often remain superficial and unresolved. It hints at profound explorations of identity, loss, and the struggles within a morally ambiguous world, but fails to commit fully to these themes. For viewers seeking a fresh take on crime thrillers or complex familial narratives, *Absolution* may leave them wanting, urging us to recognize that high expectations—like unmet promises—can lead to muted experiences.
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