As surely as the ball drops in Times Square, the beginning of every new year always yields a new movie in which Liam Neeson is armed and wronged, which brings us to 2021 and “The Marksman.”
Granted, Neeson’s reign as an action hero of a certain age has yielded at least one genuinely worthwhile film (“The Grey”) alongside some delightfully trashy collaborations with director Jaume Collet-Serra. “The Marksman,” alas, plods along without any sense of vitality or absurdity; director and co-writer Robert Lorenz (“Trouble With the Curve”) has spent much of his career working almost exclusively with Clint Eastwood, so it’s not a stretch to surmise that this vehicle was crafted to follow in the well-worn path of “Gran Torino” and “The Mule.”
Neeson certainly brings more warmth and empathy to the character, but the film itself plays like an amalgam of action-movie clichés (drink every time someone says “the cartel”), with some too-little,...
Granted, Neeson’s reign as an action hero of a certain age has yielded at least one genuinely worthwhile film (“The Grey”) alongside some delightfully trashy collaborations with director Jaume Collet-Serra. “The Marksman,” alas, plods along without any sense of vitality or absurdity; director and co-writer Robert Lorenz (“Trouble With the Curve”) has spent much of his career working almost exclusively with Clint Eastwood, so it’s not a stretch to surmise that this vehicle was crafted to follow in the well-worn path of “Gran Torino” and “The Mule.”
Neeson certainly brings more warmth and empathy to the character, but the film itself plays like an amalgam of action-movie clichés (drink every time someone says “the cartel”), with some too-little,...
- 1/12/2021
- by Alonso Duralde
- The Wrap
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