Absolution (2024) Samuel Goldwyn/Action-Thriller RT: 112 minutes Rated R (violence, language throughout, some sexual content/nudity, drug use) Director: Hans Petter Moland Screenplay: Tony Gayton Music: Kaspar Kaae Cinematography: Philip Ogaard Release date: November 1, 2024 (US) Cast: Liam Neeson, Yolonda Ross, Frankie Shaw, Daniel Diemer, Ron Perlman, Javier Molina, Terrence Pulliam, Deanna Tarraza, Ryan Homchick, Tom Kemp, Josh Drennen.
Rating: * ½
There is no forgiving a movie as lame as Absolution, the latest actioner starring this generation’s answer to Charles Bronson, Liam Neeson. The 72YO actor has noticeably slowed down in the 15 years since his transformation into action hero in the first Taken film. This time, he just looks bored as a low-level criminal at the end of his illustrious career. Funny, I felt the same as I watched Liam lumber through this exercise in familiarity.
The plot of Absolution plays like a Liam’s greatest hits collection with a scenario right out of Memory. His unnamed character, listed as “Thug” in the end credits, has been somewhat forgetful lately. He can’t even remember the name of his boss Charlie (Perlman, Hellboy). His doctor informs him he’s suffering from a neurodegenerative disease called CTE, the result of years of taking blows to the head as a boxer. It’s fairly advanced and he has maybe two years before he can no longer take care of himself.
Realizing his predicament, he attempts to reconnect with his two grown children who he ran out on years ago. His son is a non-starter; that ship has sailed off into the horizon. His daughter Daisy (Shaw, SMILF) at least takes the time to tell her estranged dad to f*** off. Nonetheless, Thug makes an effort to get to know his grandson Dre (Pulliam, Single Drunk Female). In addition, he starts a relationship with a woman (Ross, The Chi) he meets in a bar after knocking out her abusive boyfriend. The one noticeable thing they have in common is the absence of a proper name; she’s referred to as “Woman” in the end credits.
Thug does mainly grunt work for his boss. He accompanies his dumb ass son (Diemer, The Midnight Club) on routine jobs while he learns the business. It’s during one of these jobs that he becomes aware of a sex trafficking ring. He takes a special interest in one of the girls (Tarraza, Letters to Santa). As if he doesn’t already have enough on his plate, it looks like somebody’s out to get him. He thwarts an attempt on his life, taking down the shooter with surprising ease. Now he has to figure out who’s behind it.
Absolution was a last-minute addition to the schedule at my multiplex of choice. It was the first I heard of it. I figured it would be a decent matinee flick. It’s not. It’s a real bore. It takes nearly an hour for something to happen. If I lived by Brotman’s Law, I’d have been long gone by this time. It’s not that I don’t get or appreciate what director Hans Petter Moland is going for here. He’s the guy behind the Norwegian thriller In Order of Disappearance and its American remake Cold Pursuit (also starring Liam). He’s looking to turn Absolution into a character study dealing with a tired, lonely, depressed criminal type forced to reexamine his life choices. This would be fine if the film was actually interesting which it is not. It barely comes to life during the few quick bursts of action.
Neeson is a great actor. When I compare him to Bronson, it’s a compliment. He’s equally capable of turning in fine dramatic performances in non-action movies. He might even be funny; we’ll have to wait until next year’s Naked Gun reboot to find out. He doesn’t give a performance in Absolution. He just sleepwalks through a role he’s played more than once. He doesn’t even try for laughs with witty one-liners or looks of bemusement. He’s completely on autopilot here. I realize the same could be said of Bronson’s later performances, but his tough guy screen persona always managed to show. All I see in Absolution is a tired old man. Sorry, Liam. I have to call it like I see it.
Some will argue that Absolution has a distinctly European flavor. I say BS! It’s slow and boring. The pacing is deathly. At 112 minutes, it’s just too damn long. The half-assed screenplay by Tony Gayton (Faster) is unfocused and all over the place. The scenes where Thug visits with his long-dead father on a boat in the sea add nothing to the proceedings. In fact, I don’t even know why Moland saw fit to include them. The drab (some might say moody) cinematography by Philip Ogaard just makes Absolution even more of a slog.
I’m reaching the point where I think Liam ought to hang it up as an action hero, but he’s far from it going by his upcoming films listed on IMDb (e.g. Run All Night 2). On the other hand, I never gave up on Bronson even after Death Wish V. I’ll still see his action films. I certainly hope they’ll be better than Absolution. To all involved, say four Hail Marys and four Our Fathers as an act of penance. Now go in peace.
