Absolution (2024) Review: Liam Neeson Delivers a Subtly Melancholic Turn in This Otherwise Familiar Crime Drama
Another year, another Liam Neeson and this time, he plays an ageing mob enforcer in Absolution, which also marks the actor’s reunion with Cold Pursuit director Hans Petter Moland. I didn’t expect much from Liam Neeson movies these days with his last one called Retribution resulted in one of the worst films I have seen in 2023.
Absolution seems like a generic crime thriller straight out of the assembly line: Liam Neeson plays a nameless character simply credited as “Thug”. He has been working for his Boston crime boss, Charlie Conner (Ron Perlman) for 30 years and remains loyal till today. Charlie wants his son Kyle (Daniel Diemer) to learn the ropes of his business but unlike Charlie, Thug feels he doesn’t have what it takes to become a new boss, let alone act like one.
Thug lives alone, where he would spend time downing liquor and his life outside work is pretty much mundane. But he always keeps himself in shape since he used to be a boxer. Then comes the unexpected harsh reality: He finds himself forgetful. He even forgets his boss’ name at one point and can’t remember the directions he is supposed to go or where he lives. He finally goes to a doctor and the cause of his absent-mindedness is the result of a CTE (Chronic Traumatic Encephalopathy) from his repeated head trauma in the past since his younger days. The bad news is that there’s no cure other than expecting his condition will get worse over the next few years.
He has a tough time accepting the fact and wants to commit suicide but ultimately changes his mind to do something that he’s always been neglecting all the while. He starts by trying to get in touch with his estranged daughter (Frankie Shaw), who is a single mum raising her son Dre (Terrence Pulliam). But his daughter isn’t interested to see him especially after he chose to abandon her in the past. He also finds himself romantically involved with a sex worker (Yolonda Ross, credited only as “Woman”).
Clocking at two hours long, Moland looks as if he’s channelling into the ’70s era of crime drama, taking his time in fleshing out the characters and the story. It was admittedly slow-moving and don’t expect plenty of action set pieces here since Moland is more interested in focusing on Liam Neeson’s unnamed character’s ordeal coping with his increasing memory loss. The good news is that Neeson’s stoic, no-nonsense persona is put to good use and he does a better-than-expected acting performance in Absolution rather than just phoning in as usual. He brings a subtle emotional depth beyond his tough-guy exterior, where we see how he lives his life filled with pain and regret.
He is also backed by solid support including Yolonda Ross as a sex worker with a heart of gold and Frankie Shaw as the reluctant daughter trying to forgive him for what he did. There are a few tender moments where Thug share some quality time with his grandson, Dre and teaches him how to box. Moland also slipped in Thug’s recurring dream sequences with him often awakened on a boat in the sea but instead of something meditative, I can’t help but feel the scenes are awkwardly misplaced.
Absolution may have been low on action but when it does arrive, Moland directs them with enough flair. This is especially true with one scene revolving around a group of unknown assailants attempting to kill Thug. The particular action scene is well-staged, even though it’s rather questionable to see it take place in broad daylight in the city of Boston without attracting any public attention.
