From the four collaborative films of Liam Neeson with director Jaume Collet-Serra, I think The Commuter is the one, logically, the most absurd. Initially this movie plays like a mystery movie a la Hitchcock, then in the middle of the road changed drastically into an action film. The scenario is lebay and pretentious. But it worked so well, I got confused. The movie looks better if not so thoughtful. Wait a minute, I want a correction. Come to think of it, maybe this movie plot is terabsurd, not from Collet-Serra, but from all the Neeson action films.
Neeson was reborn as the icon of action stars in 2008 through Taken. Men age Setya Novanto was no less convincing when beat people in action film class B, especially if just just nabrak electric pole. Since then, Collet-Serra has joined in exploiting Neeson's new image through Unknown, Non-Stop, and Run All Night. In The Commuter, his role is slightly different. But not really. Pfft, who's gonna be fooled.
The opening scene promises that the movie will be more than a tub-bun and dar-der-dor. Neeson plays Michael, an ordinary insurance agent who leads a mediocre life - middle class, but fortunately does not ngehek. Collet-Serra effectively captures its monotonous routine in no time. The morning woke up, listened to the radio, ate breakfast with the child, then escorted his wife to the station to leave for his office in Manhattan. Naas, arriving at the office, Michael was fired.
On his way home on the train, Michael was approached by a mysterious woman named Joanna (Vera Farmiga) who gave her a strange offer. All Michael had to do was identify a passenger who was not supposed to be in the carriage, then he would get a wow reward. It's a ridiculous offer, but it happens that Michael is in need of money, too. When Joanna came down, she later realized that the offer was serious, so serious that it involved the lives of the other passengers.
But they are not being held hostage, because then the movie title should be Taken 4. All we get is a detective movie ala-ala. Michael walked from one carriage to the other, searching for clues as to who the person meant. The threat is also getting bigger. Joanna seemed to have eyes and ears everywhere, so knew all the details of Michael's behavior. To make matters worse, Michael's family is also in danger.
I think this movie originally conditioned Neeson as an ordinary man. But it did not. When he was releasing stress at the bar, Michael mingled with his old colleague, Murphy (Patrick Wilson) while mocking Captain David (Sam Neill). Michael was a former cop! So it would not be awkward, if he had a strong instinct and would also be able to beat people or hang on an oncoming train.
The film is arguably never lost momentum. The transition in the middle feels awkward, but the film is steady as a separate part. Collet-Serra launches the film at high speed, keeping the tension steady. The director really knows how to make a scene tense. The camera moves are dynamic, and sometimes showy with some stylish shots. There is one battle scene in the train taken one-take without interruption. The film uses CGI for special effects, but is used effectively.
With so much excitement jotos and bullets are dissipated, I wonder too kok ya long passengers too another panic. In fact, many extras are just plain with what Michael says or does. Characterization is consumed by plot mechanics. Joanna's conspiracy reaches too far, we have to turn the brain to accept the logic of the story. Does Joanna need to plan the seribet? Does the movie really jump out of the rails with spectacular? It seems so, but we are made not too ignorant of logic or reality while watching.
Many parts of the movie will be disconnected when you think about it outside the cinema. But as far as anything goes, Collet-Serra knows how to make it into a real-life movie. Marvel or DC may contact him to work on their superhero movies. But wait a moment; after the plane on Non-Stop, then the train in this movie, I have to see Neeson in action on the cruise ship first.