Liam Neeson is undoubtedly one of the most compelling presences in contemporary cinema, known for his enthralling performances and his ability to dominate the screen. However, “Absolution,” his latest venture directed by Hans Petter Moland and written by Tony Gayton, raises several questions about originality and narrative depth. This film, despite Neeson’s strong screen presence, appears to be a repetitive exploration of familiar themes surrounding redemption, familial estrangement, and the consequences of a life of crime.
At the heart of “Absolution” lies a storyline that has been explored ad nauseam in cinema—the flawed protagonist seeking redemption. Neeson portrays an aging Boston gangster, nicknamed Thug, who learns he has a terminal illness. This diagnosis serves as the film’s catalyst, pushing Thug to reconcile with his estranged daughter, Daisy, played by Frankie Shaw. While the intention of the film may have been to delve into complex familial relationships and personal reconciling, it ultimately falls short, succumbing to clichés rather than providing any new insights or emotional revelations.
The narrative arc that involves Thug striving to reconnect with his daughter while grappling with his life choices is presented in a flat, formulaic manner. The dynamics between father and daughter feel contrived—a mere setup for poignant moments that never truly materialize. Daisy’s background as a struggling single mother, engaging in work as a stripper while facing eviction, feels more like a desperate bid to evoke sympathy than a well-rounded character exploration. Unfortunately, this extends to the treatment of several secondary characters, including sex workers and LGBTQ individuals, who are caricatured rather than presented as authentic, multi-dimensional human beings.
“Absolution” attempts to address numerous subplots—family strife, addiction, and redemption—but fails to fully engage with any of them. A significant subplot revolves around Thug’s son, who succumbed to a heroin overdose, a topic mentioned in passing and handled insensitively. The film touches on Thug’s mixed feelings about his son’s sexuality yet rapidly disregards this thread. The moment offers a missed opportunity for essential discussions on paternal acceptance and the complexities of familial relationships, reduced to shallow references that only serve to scratch the surface.
Moreover, Thug’s inadvertent involvement in human trafficking accentuates the narrative’s disjointedness. Initially portrayed as a hardened criminal, he suddenly develops a moral compass when faced with the plight of a woman at risk. However, this character transformation lacks the necessary depth and coherence, leading to a dissonant portrayal of moral awakening. The film not only skimps on meaningful action sequences—despite promising moments of violence and tension—but also fails to create a compelling emotional engagement throughout its lengthy runtime.
While “Absolution” offers some striking visuals of Boston, the cinematography alone cannot redeem its flawed narrative. The locations might be picturesque, yet they serve more as a backdrop to a story that lacks substance. Meaningful context and character development are essential components in elevating a film, aspects that are regrettably absent in this production.
Moreover, despite the film being cast with notable performers, including Ron Perlman in a wasted role and Yolonda Ross, the characters lack agency and resonance. The performances, while competent, are rendered ineffective due to the overall superficiality of the script. It’s disappointing to note that so much potential is laid to waste through what seems like a routine paycheck project rather than a passionate artistic endeavor.
“Absolution” stands as a testament to the pitfalls of familiar storytelling. While Liam Neeson’s performance offers flickers of hope, the film’s inability to navigate its numerous plots and subplots effectively renders it uninspiring. The core themes of redemption and familial reconciliation, which could have provided a powerful narrative, instead dissolve into a series of tired clichés and half-hearted attempts at social commentary. As it stands, “Absolution” may serve as an entertaining distraction, but it ultimately lacks the heft and heart one might expect from a film featuring such a talented lead. Audiences embarking on this journey should temper their expectations, recognizing that while the film may present beautiful landscapes, its underlying narrative is regrettably barren.
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