As a whodunit, The Commuter had a destination that had appeared even before its main character stepped into the train toward a long journey that forced him to race against time. We just need to give a little attention to the trivial details while putting on suspicion. But whodunit is not just about a surprising twist. Processes containing the element "5W 1H" are important components, if not the most important. Unfortunately, it also failed to be met by the fourth collaboration film Liam Neeson and director Jaume Collet-Serra this, Neeson plays Michael MacCauley, a life insurance company employee who routinely boarded the train on his way home from work. As a result, he also knew some fellow commuters and vice versa. Of course, he was not an old man at random. Michael is a former policeman. The actor can still be relied upon as a hero action. His physique may no longer be a prime acting for fights scene, but his prestige makes the audience believe Neeson can do it all. Unfortunate for Michael, tough toughness prevents him from dismissal.
On the way home, when the sense of being nervous about having to tell the dismissal of his wife when the dependents paid their son's college tuition was haunting, Michael was visited by Joanna (Vera Farmiga). Joanna offered $ 100,000 to Michael, provided she was willing to use her knowledge of the commuters to look for a mysterious figure named Prynne who should not be on the train. Why should Michael? The Commuter offers a sensible glance at a glance, but if it goes further, leaving an oddity, If I have enough money, access, and power to control the apparatus and sabotage the train, it will not be difficult to get rid of let alone find someone. No need to bother to take complex steps that the chances of success are small. Collet-Serra obviously idolized Alfred Hitchcock. Since Unknown, the film involves a narrow space of terror, a secret identity, or a "wrong man in the wrong place" character. In the various films, Collet-Serra works with different authors, except Ryan Engle who writes The Commuter and Non-Stop. Then how can it all save similar problems? It seems the phrase "mate is not where" is true.
The director's work is often weak in conclusions. Like The Shallow, The Commuter jumps to a bombastic climax after spending the duration of building mystery. Not mistaken. Collet-Serra wants to create a modern Hitchcockian that combines mystery and powerful action. But the climax of The Commuter, which implements a mediocre quality CGI, fails to keep the tension. The crowd was invited to feel anxiety like a moment when Michael was almost run over by a train. The scene is effective, because it gives emphasis to the danger experienced by the character, while the climax is negligent, Byron Willinger's Scenario, Philip de Blasi, and Ryan Engle are less qualified to share phases when to ask questions, when to share the answers little by little. The script hangs question marks for the answer audience without having a fascinating riddle to entice enthusiasm for answers. Jaume Collet-Serra is clearly blessed with a vision of fulfilment in concocting action. He just has to find the right scriptwriting partner.
RATING (6/10)
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RATING (6/10)
Don't forget, give your feedback in the comment section
