In the last decade, Liam Neeson has seemingly taken every script that’s come his way. He’s been forthcoming in his reasoning as, since the tragic death of his wife Natasha Richardson, he’s freely admitted that the best way for him to cope with this is to keep busy. All in all, this method has paid off for the actor. Many of the movies he’s been in have been well reviewed by most critics, have proven to be box office successes and he’s managed to reinvent himself as a man of action in his 60s. His latest, A Walk Among the Tombstones is a bit of a departure. Unlike the Taken films and Non-Stop from earlier this year, this is not a slam, bang action affair. Based on the crime novel of the same name by Lawrence Block, this is an experiment in modern film noir as Neeson’s character, former cop, now private eye Matt Scudder, takes on a case that exposes him to the depths of human depravity as he’s forced to come to terms with a tragic event from his past.
Scudder’s client in the movie is an unlikely sort. Cristo (Maurice Compte) is a drug lord who’s unable to go to the police after his wife has been kidnapped and killed. His brother Kenny (Dan Stevens), a recovering drug addict, who met Scudder at an AA meeting, brings these two together and before you know it, the former police officer agrees to try and find the people who committed this heinous act.
As with most good mysteries, this crime proves to be only the tip of the iceberg as far as the investigation is concerned. As laid out by director Scott Frank, the film takes its time. Scudder uncovers one clue after another until the twisted trail he’s following leads to a resolution. While this deliberate pacing may turn some viewers off (I can just hear them say, ‘This is boring … ’), the movie wouldn’t be as effective or shocking if the director has rushed through things. We are forced to share in Scudder’s frustration and his growing sense of horror at the events he uncovers because Frank takes his time. The story has a slow fuse but it pays off in the end.
In staying true to Block’s book, Frank is bound to include the character of TJ (Brian Bradley), a homeless teenager that Scudder takes under his wing when he proves adept at uncovering clues through the internet that he needs. At times their scenes together feel forced and unconvincing. Inclusion of this kid smacks of being a gimmick. Yet at other times, Neeson and Bradley are able to bring enough realism to this relationship that it almost rings true, nearly convincing me that this pair could be the most unlikely of partners.
The film is solid in execution and benefits greatly from its two villains – memorable, deplorable bad guys just charismatic enough to separate themselves from the pack – the sort audiences love to hate. And while the mystery is as solid and honest as these things can be, in the end a needlessly prolonged climax reveals a lack of confidence in the material. Frank is obviously pandering to the sort of audience that demands at least two endings to their movies. Still and all, Neeson provides a solid center to Tombstones, helping to make this one of the films, among many, that he won’t have to apologize for.
Contact Chuck Koplinski at [email protected].
