He’s friends with most of the regular passengers, acquaintances with the rest. Since the film is a mystery, the basic concept is all I feel comfortable sharing, and it’s as follows: Ex-cop and newly jobless insurance salesman Michael MacCauley has been commuting to and from work on the same train for ten long years. Neeson’s action flicks take themselves very seriously, and they’re stronger for it. The winks and nods are only in the eyes and necks of the audience.
Sure, it’s starting to feel a bit like Liam Neeson is making parodies of the second act to his career, but somehow that’s part of the fun. The brand, of course, being “stylish genre exercises that would have been right at home in 1993.” We don’t really see these outside of supremely low-budget pictures, so it’s always nice when one with a fair amount of pedigree like this one rolls around. The Commuter is probably the least explosive of their work together, but it is undoubtedly of the same brand. The Commuter is yet another team up between Neeson and Jaume Collet-Serra, who collaborated on Unknown, Run All Night, and Non-Stop. If memory serves, this is the only time his accent has been acknowledged since before Taken, and since I frequently make jokes about the tremendous actor’s inability to play an American, what can I say? I appreciated it quite a bit. At the outset of The Commuter, the latest ‘Liam Neeson is forced to hit things’ movie, something happens that I don’t believe I’ve seen in the aging actor’s action iteration: he openly admits to being from Ireland.
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