Liam Neeson has established himself as a formidable presence on screen, yet his latest film, *Absolution*, feels uncomfortably reminiscent of past narratives featuring troubled fathers seeking redemption. This crime thriller, penned by Tony Gayton and helmed by Hans Petter Moland, revolves around Neeson’s character, an aging Boston gangster who faces a terminal diagnosis. Stripped of originality, the film follows a predictable arc: a man grapples with the consequences of his past while striving to reconnect with his estranged daughter, Daisy, played by Frankie Shaw. The title itself is already a signpost to the thematic cliches—death, redemption, and familial estrangement.
The cast includes a notable line-up, with Ron Perlman taking on the role of Mr. Conner, a figure who fails to bring enough depth to the story. As Neeson’s character, known only as “Thug,” attempts to navigate the treacherous waters of organized crime while reconciling his familial ties, viewers may find themselves stifling yawns rather than engaging in the emotional currents advertised by the narrative.
One of the more disappointing elements of *Absolution* is its reliance on well-worn tropes and underdeveloped characters. In a film that deals with themes of redemption and societal struggles, sex workers and LGBTQ+ characters are regrettably reduced to four-dimensional plot devices rather than genuine human beings. Daisy’s brief and unfortunate backstory as a stripper and single mother feels hastily aggregated from a tired book of clichés rather than a sincere attempt to explore the complexities of working-class life.
Even the subplot involving Thug’s late son—revealed to have died from a heroin overdose—seems to function more as a narrative crutch than a meaningful exploration of family dynamics. The half-hearted admission of Thug’s discomfort with his son’s sexuality punctuates the deadened perspective that permeates the script. Following a fleeting conversation with his girlfriend that brushes against themes of toxic masculinity and homophobia, the narrative swiftly moves on as if to say that deeper conversations are unwelcome in this crime-centric realm.
As Thug embarks on a quest for redemption, he unwittingly becomes entangled in human trafficking—a plot point that evokes the kind of sensationalism common in much of today’s crime cinema. The narrative does not treat this heavy topic with the gravity it deserves; instead, it devolves into more superficial storytelling. The film introduces a woman whom Thug decides to rescue, but instead of developing her character, the script relegates her to the status of an afterthought. In a world increasingly conscious of representations on screen, *Absolution* chooses the path of least resistance.
The scant character development does a disservice not only to its female characters but also to the narrative’s broader social commentary. By reducing their lives and struggles to minor plot points, the filmmakers miss an opportunity to engage in the significant themes of loss and personal operation within the greater context of society’s failings.
Visually, the film successfully showcases some beautiful vistas of Boston, lending it an aesthetic appeal that is unfortunately not mirrored in the writing. A number of action scenes, including an improbable shootout scene that occurs without raising any alarms in the surrounding cityscape, lack the visceral intensity expected from a Neeson-led thriller. The film clocks in at 122 minutes, yet it feels both overlong and underwhelming, offering too little in terms of emotional stakes and gripping action.
Ultimately, *Absolution* might resonate with audiences looking for a straightforward crime drama but offers little beyond familiar formulas and a disjointed narrative. Its shortcomings in character development and thematic exploration showcase a broader industry tendency to prioritize spectacle over substance. For a film revolving around the possibility of redemption, it sadly fails to embody its promise—leaving viewers wanting not just more action or drama, but a deeper exploration of the complexities of life and humanity. As the film limps toward its conclusion, it becomes evident that sometimes, high expectations lead only to disappointment.
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