The Wasteland Reviewer

Absolution (2024) Written Review

Are you still on the Liam Neeson train? For the past 15 years or so, Neeson has devoted most of his time on screen anchoring a variety of thrillers. This even spawned a whole generation of filmgoers labeling everything with him in it as “Taken with BLANK”. That is an obvious fallacy…if you have been really paying attention. But he does spend a lot of his time making thrillers and playing tough guy roles. This year, he teamed up with Samuel Goldwyn and made a few more dramatically inclined thrillers for a change. In the Land of Saints and Sinners was a big win for Neeson…but is Absolution? 

What makes Absolution standout in the endless sea of Neeson thrillers? From the start, you certainly get a neo-noir feel with some gravelly voiceover about proving he was a tough guy to his father. There is a more serious and somber tone to this one. The film slowly reveals that Neeson’s protagonist is slowly losing his memory. Absolution becomes a commentary on CTE due to our protagonist’s long life as a boxer then a thug for the mob. There are plenty of moments where Neeson gets to flex his acting chops with anger, vulnerability, and fear boiling over at any given moment. You feel the impact of this struggle due to Neeson’s strong performance. Director Hans Petter Moland injects some interesting layers to the film as well through dream sequences and delusions that find our protagonist’s condition manifesting his abusive father. There are some creative means to layer in these themes that give the film dashes of magical realism. The emotional weight, significant themes, and creativity certainly make this stand out compared to a lot of Neeson’s recent efforts. 

What else does Moland offer to make this film standout? Outside of the more abstract elements of the story, you also get some quality filmmaking along the way. From the opening scene, you get some inspired blocking and framing of shots. We understand Neeson’s character so well from the start as we see a long lingering shot of his mostly empty home and the way he carries himself as well. There are multiple scenes full of serious tension as Moland knows how to handle the camera and put his audience on edge. There is one moment between Neeson and his boss, played so well by Ron Perlman, that really strikes a nerve. Two veteran actors showing layers and vulnerability that adds nice layers to the film. The film says a lot about trauma, addiction, redemption, and incurable diseases which give the film some weight. 

But does Absolution work on every layer? The script has plenty of themes and ideas packed in. Not all those threads feel satisfying, fresh, and fleshed out. The handling of the CTE and brain trauma feels earned and effective as plenty of time is committed to it. Neeson’s tough guy finds love in an unexpected place with Yolanda Ross’ character who has been through plenty of trauma herself. There are some heavy moments throughout, but it is hard not to feel like this thread feels so obvious. That is the reality of quite a few threads in the film. Neeson trying to reconnect with his estranged daughter and grandson feels so expected and cliched. There is nothing fresh or interesting in the way the film handles it as she is hesitant and leaves him hanging. There is a thread with the cocky son of the mob boss that doesn’t not really work as well (mostly because the character is so uninteresting, and the performance does the role no favors). Throw in a needless subplot about sex workers and you have a story that is just a bit too overstuffed. 

Is Absolution a worthwhile thriller from Neeson? There is a lot more depth and emotion than you might expect going in. This somber affair deals in significant themes (even if some of them are done in too familiar of a way). Neeson gives a strong performance that anchors it all down and Perlman and Ross offer up good support. Moland ties it all together with some inspired filmmaking and you have yourself a solid somber thriller.