Released March 13, 2015. Directed by Jaume Collet-Serra. Starring Liam Neeson, Ed Harris, Joel Kinnaman. Written by Brad Ingelsby. 1hr., 54 min.
Vengeance and a father’s love pair up on a long December night
Featuring a visually pleasing style and packing a surprisingly emotional punch, Run All Night will please anyone looking for a concise narrative that happens over one long night.
Fate pits best friends Jimmy Conlon, portrayed by Liam Neeson, and Shawn Maguire, Ed Harris, against each other in a deadly situation when Jimmy is forced to kill Shawn’s son to protect his own kin. Maguire’s son Danny, the up-and-coming supporting star Boyd Holbrook (A Walk Among the Tombstones), kills a pair of Albanians in a local gang after he tries to bring drugs to the family business. The entire situation is a product of Danny’s insolence and need for independence – to handle a problem on his own, like his father suggested. Surely, this is not what he meant.
His father is a legitimate business man, also known as a New York mafia boss, who won’t bring drugs back to his city after he had a bad experience amongst his workers once before. Michael, portrayed by RoboCop’s Joel Kinnaman, comes into this when he drove the to-be-murdered Albanians to Danny’s home. He is a limousine driver and family man, with a seriously estranged relationship with his own father – a former hitman for Shawn Maguire.
Now Jimmy is retired, but his nightmares of those he has killed have not rested. He’s drunk and tattered, playing the flawed hero he seems to play at least once a year nowadays, notably in 2014’s Non-Stop and A Walk Among the Tombstones.
Hey, if it works, it works. It feels even more familiar here, however, since this has such a similar style to Non-Stop, which director Jaume Collet-Serra also helmed. It has a different framing – New York circa Christmas time, but it’s about as much of a Christmas flick as Die Hard. There’s also a prominent NHL game in play throughout – the New York Rangers versus the New Jersey Devils, perhaps to display the city’s culture. It later works cleverly into the screenplay, which is written by Brad Ingelsby, writer of 2013’s Out of the Furnace. Similar settings, scenes and tone make this more familiar.
Run All Night isn’t memorable because of its originality, but because of its emotionally interesting narrative. Jimmy will largely do anything to protect Michael and that shows a father’s love for his son, even if they don’t know each other well. However, Michael’s bitterness towards his father becomes so sporadically extreme, that the character is sometimes too unlikable.
During the quicker action scenes, the editing becomes hectic. That’s one of the weaker technical aspects of the film; but the redeeming cinematography is smooth. The action scenes work because they are fun and have personality. But there are scenes that don’t work – like uninspired bouts of ruthlessness just so it can show that these characters can be brutal. Or a bathroom brawl for lack of realism, since they make a lot of noise – and how does no one hear the commotion in the commode in a crowded subway station?
A fun antagonist includes a hitman portrayed the Oscar-winning Common. He’s called to be robotic and calculated as Andrew Price, but ends up being the Dr. Jekyll and Mr. Hyde of assassins, particularly when he’s called to put on his nice guy act, and then he becomes monstrous. Vincent D’Onofrio portrays Detective Harding, an antagonizing, prejudiced officer who has been gunning for Jimmy “Gravedigger” Conlon for years. His assumptions of Jimmy and his son are sometimes downright mean.
Director Jaume Collet-Serra does bring his best action film yet to the table. He expertly deals with themes of regrets in life through Conlon, largely signified through a repeated line with former bestie Maguire, “Wherever we’re going, when we cross that line, we’re going together.” It’s fascinating that a family member’s death because of intense circumstances can cause him to be so vengeful, but the way that writer Ingelsby doesn’t delve into it well enough causes him to be more basic than he could have been. Collet-Serra handles the emotions well and builds great tension throughout.