Movie Review: “The Greatest Showman”

There is often considerable debate among moviegoers about the musical genre (I guess you can call it a genre) — and opinions can vary greatly. 

In my mind, the key to any musical (either presented on film or a live stage production) is the music. If the filmmakers have a good soundtrack, it tends to help the overall experience. 

“The Greatest Showman” is the latest musical spectacle to come out of Hollywood. The film was released on Dec. 20, 2017, and I finally saw it Jan. 30 (I’m behind on my movie viewing). 

I’ve largely avoided reading reviews of “The Greatest Showman,” but I know that opinions have been varied on the film, which tells a hyper-stylized biographical sketch of the rise of P.T. Barnum — the man whose entrepreneurial efforts created what would eventually become the Ringling Bros. Barnum & Bailey Circus.

When the movie begins, we find the young Phineas Taylor Barnum (Ellis Rubin) working alongside his father Philo (Will Swenson). The pair works for the Hallett family, and P.T is smitten with daughter Charity (Skylar Dunn). The girl is sent to finishing school, but the two stay in touch via letters, and are eventually reunited (the song “A Million Dreams” plays throughout this sequence). 

The mature P.T. (Hugh Jackman) and Charity (Michelle Williams) marry, and have two daughters. They live a spartan life in New York City. Yet, they have each other.

Barnum is a dreamer. He longs for more for his family. When he loses his job as a clerk at a bankrupt shipping company, he devises a clever scheme to get a bank loan to start his own business — Barnum’s American Museum. 

The museum is designed to attract customers via bizarre and macabre oddities — mostly featuring wax figures. Despite various 19th century marketing efforts (the whole family hands out fliers to people passing by), the business is a flop. 

But you can’t keep a good man down. The unflappable Barnum eventually keys in on the idea of living, breathing people for his show — the misfits, oddballs, and peculiar of society. What society sees as shortcomings are signs of beauty (and potential profit) for the dauntless businessman. 

When a critic refers to the show as a “circus,” Barnum has his new name for his operation, and is well on his way to taking Manhattan by storm. 

But P.T. isn’t satisfied with merely being successful with the masses. He wants to appeal to the upper crust of society. In that effort, he recruits playwright Phillip Carlyle (Zac Efron) to add a certain panache to the circus.

The song “The Other Side” highlights this sequence of events — “So trade that typical/For something colorful/And if it’s crazy live a little crazy”

As is the case with the “nouveau riche” in these sorts of stories, Barnum’s success eventually goes to his head, and his desire to be “reputable” in show business leads him to Jenny Lind (Rebecca Ferguson)— a famous Swedish singer he and Carlyle meet while visiting Queen Victoria. 

(You might remember Rebecca Ferguson from her role as an assassin in 2015’s “Mission: Impossible — Rogue Nation”).

Barnum’s desire to put Lind on the map in the United States — cementing his status as a “legitimate” entrepreneur — eventually threatens his business, his marriage, and his reputation. 

It’s been less than 24 hours since I watched “The Greatest Showman” at Aksarben Cinema, but I’m already kind of obsessed with the soundtrack. 

The highlight of the buoyant pop vocals is the song “This Is Me” — a self-esteem anthem that has been nominated for an Oscar in the “Original Song” category. The song has already been honored with a Golden Globe.

The tracks in “The Greatest Showman” are written by Justin Paul and Benj Pasek — who worked on 2016’s “La La Land” (read my review of “La La Land”). 

While Pasek and Paul’s musical stylings in “The Greatest Showman” might lack the nuance and hipster sensibility of their award-winning song “City of Stars” from “La La Land,” the soundtrack for “The Greatest Showman” is a rousing pop concept that feels very “Broadway” — throaty anthems, full of pomp-and-circumstance, that are instantly hummable. 

If you’re looking for historical accuracy in “The Greatest Showman,” look elsewhere. Like a Broadway musical, this movie uses the strategy “why say it when you can sing it” to full effect, and creative liberties are taken. 

I also should mention the performance of Zendaya in “The Greatest Showman.” She plays Anne Wheeler — a trapeze artist and acrobat. She becomes the object of Phillip Carlyle’s affections. The two duet on the song “Rewrite the Stars” — “I know you want me/So don’t keep saying our hands are tied” — which focuses on a love that 19th century society frowns upon.

The movie is schmaltzy with a healthy dose of corniness, but very likable. It might not be as unique or ambitious as Baz Luhrmann’s 2001 musical “Moulin Rouge!” (a movie I saw opening day with my friend Joel Mack), but it is a lot of fun.  

While it might not be the perfect movie, “The Greatest Showman” was significantly better than Hugh Jackman’s previous musical motion picture outing in “Les Miserables” (a movie that plodded along, and proved that Russell Crowe can’t sing). 

“The Greatest Showman” was in development at Fox for seven years. According to Jackman in a promotional video for the movie, the director — Michael Gracey — had mainly done commercials leading up to this project. The fate of the movie depended on a single table read. 

I have the privilege of owning a business that helps with the marketing of a circus. You have a business long enough, you have the opportunity to do all sorts of interesting things, and “The Greatest Showman” resonated with me since I’ve spent the past month creating billboards, print ads and posters promoting the 89th Annual Tangier Shrine Circus.

My niece Lauren kept nudging me to see this movie (after she saw it a week ago with friends). She told me that “The Greatest Showman” was good and had a terrific soundtrack. 

Depending on how you feel about musicals, you might want to check out “The Greatest Showman” for yourself. 

Previous post: 2018 Skate With The Mavs (Includes Locker Room Tour Pics) 

2018 Skate With The Mavs (Includes Locker Room Tour Pics)

The last time I went to a Skate With The Mavs event was December 2013 at the CenturyLink Center Omaha. I decided to go again this year with Bridget (and our nieces and nephews) because — for some odd reason — I hadn’t yet seen the University of Nebraska at Omaha Hockey team’s lockerroom at Baxter Arena (I did see it during the construction phase, when it was just cement and exposed beams, but the finished product has eluded me). 

We like to take our nieces and nephews when UNO holds the event — an event that allows young fans a chance to skate with the hockey players, learn more about the program, and have a snack afterward.

The adults in attendance aren't allowed to skate, or go onto the ice. I can't ice skate anyway... and don't believe God meant for man to balance on a 1/8-inch metal blade... but I digress...

When we arrived at Baxter Arena on Jan. 28, we checked the kids in at the registration table, and got them wristbands. They had commemorative posters and fidget spinners on hand as giveaways for attendees. 

Baxter Arena staff runs “Skate With The Mavs” in shifts — all participants get to skate with the team on the main ice sheet and tour the lockerroom.

We were in the group that skated first. Here is my youngest niece moving around the ice — her method is a cross between skating, running, and an arthritic 80-year-old hobbling along with a walker:

The good news is that Maverick Forward Tyler Vesel gave her some pointers, showing her how to "push off" with her skate:

As I said earlier, parents weren't allowed on the ice. Here is a pic of me, my wife Bridget, and my brother-in-law Neil (the guy with the stocking cap and bulging biceps) looking on in the stands:

After skating with the team for about 30 minutes, our crew set the skates aside and waited in line for a tour of the team locker room. UNO Captain Joel Messner led us on our journey into the cavernous regions underneath Baxter Arena. 

It is a really nice setup for the team. In my humble opinion, this facility is superior to the team's previous locker rooms at the CenturyLink Center (2003-2015) and Civic Auditorium (1997-2003). 

A new addition this season are signs featuring inspirational quotes designed to motivate and cement the objectives UNO Hockey Head Coach Mike Gabinet hopes to instill in the program going forward.

Gabinet is an incredibly positive individual. Being around him for any length of time shows why the players have nothing but praise for his hiring in 2017. As Bridget said afterwards, he "just makes you want to be a better person." 

UNO Hockey Blue Line Club President Roger Humphries was sitting behind us at the hockey game on Jan. 27. He mentioned that the BLC donated the money for the new signage. 

The team locker room includes a workout area (with bicycles and weights):

There is an area where the trainers can work on players, and a hot and a cold hot tub to help in the rehab of injuries:

And... there is an extensive "workshop" where the equipment manager can attend to all the wounded skates, helmets, gloves, and pads the players wear in the arena of battle:

I grabbed a selfie with Coach Gabinet. Bridget and I haven’t missed a home hockey game since the program began in 1997. It’s hard to believe Gabby — who used to be a defenseman for the Mavericks in the early 2000s — is old enough to be a head coach. His youthful appearance makes me feel old, and his physique makes me feel that I should retire the potato chips in favor of broccoli spears:

 

After the event, attendees were able to grab a dish of custard from Freddy’s and sprinkle on toppings:

Having been around since the UNO Hockey program’s inception, I believe that opportunities for fans to interact with the players and coaching staff are incredibly important — for both the players and the fans. 

Not only do these moments give fans the chance to meet the team they loyally cheer on each season, they also give players the opportunity to get to know who they are playing for. 

I just wish there were more opportunities for fans — of all ages — to participate in these sorts of events — events that add a flavor "beyond the game" that is integral in building a fanbase deep-rooted with the program. 

Previous post: Book Review: "Overwatch" By Matthew Betley 

Book Review: “Overwatch” By Matthew Betley

There was a moment while reading Matthew Betley’s debut novel “Overwatch” when the 1985 Arnold Schwarzenegger action movie “Commando” popped into my mind. 

The two stories are wildly different.

But there is a part in “Overwatch” when Betley is describing his protagonist Logan West’s tactical gear — Kimber .45, HK UMP .45 caliber, Mark II fighting knife, Kevlar vest with nylon loops for ammo, camouflage face paint — that reminded me of the scene in “Commando” when retired Col. John Matrix (Schwarzenegger) is putting on tac gear and face paint (that he recently “procured” from Surplus City), armed with guns, ammo, a knife, and explosives as he prepares to storm the island hacienda where his kidnapped daughter (Alyssa Milano) is being held hostage.

“Overwatch” imbues the spirit of the action movies I grew up on in the 1980s — macho, muscular, testosterone-laden stories that took no prisoners and wasted little time cutting to the chase. 

Unlike a number of his contemporaries in this genre, Betley focuses on action, and makes sure his characters are in perpetual motion.  

The book begins with protagonist Logan West (a former Force Reconnaissance Marine) waking from alcohol-induced stupor to find a mystery man standing above him in his basement.

West launches himself at the stranger and manages to disarm — and eventually kill — the nefarious intruder in a massive brawl that involves weaponizing a pull-down bar from a piece of home gym equipment. Logan discovers the man has a tattoo that is a pair of crossed .50-caliber bullets in front of a skull. 

The dead man’s phone rings, and West learns from the caller (a man calling himself “Juan”) that he is after an artifact West and his team acquired during a 2004 tour in Falllujah — one of Saddam Hussein’s Iraqi flags. 

We find out that Juan’s compatriots are about to go after West’s wife Sarah (she and Logan are separated due to his relapsed alcoholism) in rural Maryland, and that there is another team of baddies hunting down retired gunnery sergeant John Quick (Logan West’s old Force Recon buddy) in Montana.

Before we know it, Logan West, Gunny Quick and FBI Special Agent Mike West are on the hunt.

The pace never lets up as the plot zips around — a plot that includes a gunfight near the Alamo in San Antonio. There are flashbacks to West and Quick’s time in Iraq in 2004, and those exploits figure into the overall narrative Betley unfolds piece-by-piece as the mystery develops. 

I consider myself something of a connoisseur of these sorts of brawny action thrillers with a military tilt. (I also love the novels of Vince Flynn and Brad Thor.) 

Betley’s “Overwatch” feels fresh — despite the fact a number of authors have traveled similar territory — and Logan West’s struggles as a recovering alcoholic give his protagonist a unique bent. 

Betley, a former Marine officer, includes plenty of “tools of the trade” used by special operators to dish out justice. We get intricate descriptions of the destructive power of weaponry, including M18A1 Claymore mines, M4 rifles, KA-BAR fighting knives, M67 fragmentary grendages, the Kimber .45 (which seems to be Logan West’s weapon of choice), STAR-21 rifles,  Benelli M2 tactical shotguns, FEM-148 Javelin missiles, HK G36C Commando assault rifles, HK MP7s, and MP5 10mm sub-machine guns. 

Readers are also treated to a man — who is wearing a bathrobe — brandishing a Vietnam War-era M9A1-7 flamethrower in one particular scene. I wanted to stand up and applaud Betley for the sheer audacity of that move — it was ridiculously fun, and another nod to the 80s-era action movies I adore.

I learned about Matthew Betley a few months ago following @TheRealBookSpy on Twitter (check out Ryan Steck’s website at www.therealbookspy.com). I’m glad I did. 

“Overwatch” was published in 2016. His second book, “Oath of Honor,” was released in 2017. His third Logan West thriller, “Field of Valor,” is set to bow on May 22. You can learn more about the author and his books at www.matthewbetley.com. 

Betley even tweeted at me about his books when I was deciding if I should read them:

At one point in “Overwatch,” Logan West says, “Justice has to be served, and I intend to see that it is.”

If you enjoy hard-charging action novels with characters willing to give life-and-limb for truth, justice, and the American way, you’ll find much to like in Matthew Betley’s debut novel.

It is a genre I am quite fond of, and look forward to adding Logan West to the stable of heroes I read.  

Previous post: The Lost Review: "Is 'La La Land' All That?" 

The Lost Review: “Is ‘La La Land’ All That?”

Editor’s Note: I wrote this review of “La La Land” on Feb. 5, 2017. For some reason, I never published it. I’m not sure why. But the movie was a favorite of my brother-in-law Sean Weide, who ended up seeing it a total of nine times at Aksarben Cinema. Sean died in May 2017. I revisited “La La Land” on Blu-ray the week he died, and also ordered the soundtrack on CD (I like physical media). The movie makes me think of him, and his incessant pleadings to check it out. There are many times I wish he was around so I could discuss this breezy and poignant movie with him, but alas...

From Feb 5, 2017:

I finally saw critical darling "La La Land" — the movie that's been singing and dancing its way through awards season (garnering 14 Oscar nominations). 

I'd had every intention of seeing the movie when it debuted in December. In the ensuing weeks, my Facebook and Twitter feeds have been filled with positive audience reactions, with a number of the testimonials gushing (my brother-in-law has seen "La La Land" seven times to date). 

Every so often, a film is released that captures the romance of a bygone era in cinema — movies that harken back to a simpler time, when stories eschewed dark and brooding narratives for something with the light froth of a freshly blended milkshake. 

"La La Land" attempts to infuse the world of classic movie musicals with a hipster sensibility. 

It's less of a showy stage play than its forefathers in that regard, opting instead for an understated elegance and a subdued vibe. 

"La La Land" tells the story of struggling actress Mia Dolan (Emma Stone) and misunderstood jazz pianist Sebastian Wilder (Ryan Gosling). Both are trying to stay afloat in Hollywood: Mia as a movie studio barista and Sebastian as a lounge musician. Neither is particularly happy.

Mia and Sebastian's paths first cross in a traffic jam on Los Angeles freeway (which features one of the movie's most whimsical song-and-dance sequences). 

Two additional encounters happen (both involving unfortunate piano gigs for Sebastian) before the relationship's seeds are planted, and their bond starts to bloom. 

The characters are kindred spirits, and are able to help one another navigate the treacherous waters of Hollywood. Mia — disillusioned with a series of failed auditions — eventually decides she wants to stage her own one-woman play, while Sebastian tours with a pop artist (played by John Legend), in hopes of raising capital to start his own jazz club. 

Their dreamlike journey is strewn with gentle humor, and punctuated with musical cues throughout.

I'm sure the question on your mind is this: Does the film live up to the hype? 

Much as the movie itself doesn't deal in absolutes, neither does the answer to that question. 

Director Damien Chazelle has written/directed a movie that is buoyant and romantic, something in short supply at the cinema today (I really need to do a blog post on the relative dearth of romantic comedies out there).

Chazelle also chose to tell the story in musical form — something we generally only see in animated fare these days. 

Compared to the typical Oscar bait, it stands out as something different. Therein lies part of the appeal to the awards show circuit and critical "best of" lists. 

And the performances by Gosling and Stone — who dominate the narrative — are really solid in "La La Land."

My only quibble is that there were certain moments that felt a tad bit slow. 

I've heard from multiple individuals that the movie actually improves with additional viewings, so I will have to see it again. 

If you haven't yet seen "La La Land," you should see what all the hype is about for yourself. 

Rated PG-13, Runtime: 2 hrs, 8 min

Postscript: Anyone who watched the Academy Awards in 2017 will recall the Warren Beatty SNAFU where he announced "La La Land" as the Best Picture winner... only to be corrected moments later with announcement that "Moonlight" was the actual victor. Personally speaking, I think it is a crime that "La La Land" didn't win. I've watched the movie numerous times on Blu-ray, and my appreciation grows on each subsequent viewing. 

John Legend's character Keith says to Sebastian in the movie, "Jazz is about the future." By the same token, "La La Land" should be a template for how filmmakers approach stories in the future.  

Previous post: TV Review: "Victoria" Season 2 

TV Review: "Victoria" Season 2

When “Victoria” debuted on PBS Masterpiece in 2017, I wondered in my review if the historical drama was worthy of timeslot “Downton Abbey” once occupied. The first season had its strengths and weaknesses, but showed considerable promise.

I am pleased to report that the second season of “Victoria” is stronger than the first. The characters are fleshed out, allowed room to breathe, and the “historic tentpoles” seem less forced — even though the season includes ample political and social intrigue of the period. 

I was able to binge watch all episodes of “Victoria” Season 2 with our PBS Passport subscription — which allows PBS donors the chance to view all episodes before they air on local PBS affiliates. 

Jenna Coleman (best known for playing Clara Oswald on “Doctor Who”) has settled nicely into the role of youthful queen, bringing spunk and pluck to her portrayal, while turning in some surprisingly sophisticated performances during the season. 

Her husband Albert (Tom Hughes) continues to forge his own identity beyond that of serving his queen. Despite some predictable instances of conflict between prince and queen, the writers have developed the pair into an amiable team. 

There are moments this season where the two are able to set aside the noose of “pomp and circumstance” and pretend — at least briefly — that they are a common couple living a simple life. Those subplots rank among the best moments in “Victoria,” and add another dimension to the royal couple. 

One aspect I enjoyed in season 1 was the focus on the “downstairs staff.” While the relationships and plot lines aren’t as involved as those in “Downton Abbey,” I enjoyed following Skerrett, Brodie, Penge, and Francatelli. In particular, the relationship with Mrs. Skerrett and Mr. Francatelli starts to blossom this season. 

There are also new characters introduced to the “Victoria” universe. Diana Rigg comes aboard as the Duchess of Buccleuch — a crotchety old spitfire who provides moments of levity (similar in feel to Maggie Smith’s Dowager Countess in “Downton Abbey”).  

In addition, younger characters like the precocious Wilhelmina Coke (Bebe Cave), and fast friends Drummond (Leo Suter) and Lord Alfred (Jordan Waller) provide added depth and texture to the story arcs this season. 

The storyline involving the “star-crossed” duo of Prince Ernest (David Oakes) and the Duchess of Sutherland (Margaret Clunie) continues to be the most “Jane Austen-esque” arc of unrequited love in the series. This season, things take a frustrating turn for the pair.

I’d be remiss if I didn’t mention “Victoria’s” gorgeous soundtrack — which frosts each episode like a sweet buttercream. The score is by Martin Phipps and Ruth Barrett (with soaring vocals by Mediaeval Baebes), and it is incredibly majestic. 

Bridget and I recently ordered the “Victoria” soundtrack from Amazon. Here is a link to “The Suite” from the original soundtrack:

“Victoria” settles into a nice groove during its second season, fleshing out our characters and giving more attention to the interpersonal relationships. My hope is that the writers won’t feel a slavish duty to follow history to the letter, and will continue explore this fine cast in a meaningful manner. 

If you haven’t yet viewed “Victoria,” you should consider checking it out. The first season is available on the PBS app (for donors via PBS Passport) and is also offered on Amazon Prime Video. 

The lavish production is worth your time. “Victoria” illustrates once again why PBS’s co-productions with Britain’s ITV currently rank among the most compelling programming on television.

Previous post: Do Paywalls Thwart The Spread of Legit News? 

Do Paywalls Thwart The Spread of Legit News?

There has been a considerable amount of talk about the rise of “fake news,” and various technological maneuvers to try and combat the spread of low-brow content on the Internet.

It begs the question whether consumers have shrugged off the more traditional news operations because of monetary hindrances like paywalls — a move that limits the content available to non-paying subscribers — and, if such revenue-generating strategies serve to thwart the influence of legitimate news. 

As time progresses, it develops like a slow leak. Drip, drip, drip. Turning future generations away from well-researched, responsible reporting, and soaking society with “citizen journalists” willing to put out a variety of content for free. 

Twenty-two years ago I graduated with a degree in journalism from the University of Nebraska at Omaha, and have owned and operated a media-related marketing communications business ever since. In the intervening years, I have watched the entire communications juggernaut undergo more change than it had the previous 40. 

People used to travel through life with the understanding that they would pay for news. Families had subscriptions to daily newspapers, and would also subscribe to “specialty” magazines with more targeted content. People watched television newscasts with the idea that “commercial breaks” were a way to pay for valuable information. 

But the paradigm has changed. We are creating an entire culture built on the idea that content is free — whether it be news, sports, or entertainment. 

It has happened before our eyes. We’ve seen a rise in consumers “cutting the cord” on traditional cable and satellite television subscriptions. They are dropping these things in favor of cheaper services like Netflix, and free offerings like YouTube. Many are using old-school technology like over-the-air TV antennas to bring free television into their homes. 

Newspapers have been trying to find a way to keep revenue positive. Some have found wealthy benefactors willing to prop up shaky foundations. For example, billionaire Warren Buffett owns the Omaha World-Herald (my city’s daily newspaper), and Amazon CEO Jeff Bezos owns the Washington Post. 

While these organizations try to fight off layoffs — as they continue to manage the amount of original content produced on a daily basis — they soldier on with the notion that people will continue paying for news.

The problem is that the gatekeeper function has radically changed. The entities controlling information have names like Facebook, Twitter, and Google. Those entities — through sophisticated analytic filters — determine the content you see. 

There are plenty of operations out there willing to produce content for free (often plastered with banner advertising and sponsored posts). I’m not altogether sure people prefer such “news sources,” but access is free, and free typically wins the day. 

One of my favorite documentaries is the 2011 film “Page One: Inside the New York Times.” The documentary focuses on the fall of daily newspapers, the collapse of automobile and classified advertising in those publications, and the erosion of subscribers to Internet-based outlets. It also focuses on the effort large news organizations undertake to bring consumers news.

This past week, the Omaha World-Herald unleashed a “revamped” paywall — its "Subscriber Plus" digital option ($9.95 per month) is the only way you can see online articles about the Nebraska Cornhuskers, Creighton Bluejays, and UNO Mavericks. In essence, the World-Herald has decided to restrict access to more of the local, home-grown news stories focused on our community (the stories not readily distributed across the globe via the Associated Press). The OWH also lists as a benefit that its web pages will load faster for digital subscribers (which I find to be an odd thing to mention).

We have a Sunday subscription to the Omaha World-Herald (and also have a digital subscription).

On the one hand, the desire to protect content is noble. 

On the other hand, it has a “limiting effect” on the impact and influence a news organization has within a community. It might not seem that way initially, but the long-term effect basically reduces the influence of a publication when people can’t easily read an article shared via Facebook, Twitter, or other social media outlets. You see the comments on articles shared on the Omaha World-Herald's Facebook Page.

It is a harsh reality, but a reality that news organizations share. The quest to keep dollars flowing is just as vital as keeping eyeballs reading. While paywalls might stir up cash in the short term — or at least give value to a print subscription — such efforts thwart readership. 

If I am a media relations professional trying to get coverage via local news outlets, I have to start asking myself how valuable it is to get an article about a business/organization in daily newspapers if the only people who see it are print/digital subscribers behind a paywall. 

Just follow some of the “influencers” on YouTube if you want to see how corporate communications strategies have changed. YouTubers like Casey Neistat regularly pimp products from companies like Samsung — essentially paid-for promotions that reach millions of viewers. 

It doesn’t matter if the content lacks polish or sophistication. Editorial purity isn’t the goal. For advertisers, eyeballs are king, and the kingdom is being run by common folk with clickbait content. 

When you get down to brass tacks, it is a sobering proposition for society...and for the future. 

It’s very possible the situation has no fix. It’s as if the playground teeter-totter has fallen too far to one side, with no capable partner on the elevated end to weight the apparatus back into balance.

Part of the reason I have this blog is because I feel an odd sense of responsibility to bring well written and thoughtful pieces to the endless sea of crowd-sourced content. My goal isn’t to change the world — nor is it to become some advocacy bulwark. I just figure information-hungry people could do a lot worse. Might as well put that journalism degree to use. 

As time moves on, we have to hope there are others who share this same sense of duty.

Previous post: Movie Review: "The Commuter" 

Movie Review: "The Commuter"

First things first...if you need an actor to play a distressed, perplexed, frustrated, and angry father/husband in a 21st century action movie, you dial up Liam Neeson to fill the bill.

Ever since his career-defining role as Bryan Mills in 2008’s “Taken,” Neeson has found a nice groove being the elder statesmen of action movies. He’s more shaken than stirred, and has made a living on roles largely representative of the euro-style action films that made Jason Statham a star. 

It is in that same vein that “The Commuter” comes to the big screen. 

Neeson plays Michael MacCauley — a former cop turned insurance salesman who commutes from the suburbs to NYC each week during the Monday to Friday grind. 

He has a wife named Karen (Elizabeth McGovern) and teenage son. MacCauley works hard for his family. He takes an interest in his son’s schoolwork (reading concurrently with his son’s classic lit assignments). 

“The Commuter” starts off with a stylized montage featuring a series of “typical days” for Michael MacCauley as he gets ready for the day, interacts with his family, is dropped off for the train, and makes his daily commute into New York City. It is an effective technique as the audience gets rapid-fire exposition into MacCauley’s personal life. 

Things seem fairly routine — until one fateful day, when MacCauley finds himself downsized from his 10-year insurance career. In addition, he learns he doesn’t have enough money for his son’s college tuition, and washes away his woes drinking with a former NYPD partner (Patrick Wilson) after work. 

To add insult to injury, MacCauley has his mobile phone stolen on the way to his afternoon commuter train. 

As MacCauley settles in for the ride home, a mysterious woman named Joanna (Vera Farmiga) approaches him, and sits down for a chat. She informs MacCauley that there is a compartment holding $25,000 on the train, and that he can have an additional $75,000 if he identifies a particular passenger who “doesn’t belong” before the last stop at Cold Spring, NY. The individual in question goes by the name of “Prynne.”

Curiosity tugs at MacCauley, and eventually gets the better of him. He soon discovers the hidden $25,000 — that act ignites a train-bound mystery which lasts the duration of the movie. 

The film is similar in concept to Neeson’s 2014 film “Non-Stop” — a mystery/thriller that took place on an airplane.

“The Commuter’s” Hitchcockian plot is compelling, if ludicrous at times. Neeson is one of the few actors who can make walking around a train scowling and questioning random passengers watchable. 

Despite being built in a more macho fashion, “The Commuter” is a far more intriguing train-centric mystery than 2017’s “Murder on the Orient Express.” 

Since I’m a connoisseur of this form of action thriller (which aging actors like Neeson and Kevin Costner have headlined in recent years), I enjoyed “The Commuter” quite a lot. It harkens back to the sort of action movies that defined the box office in the late 1980s and early 1990s. 

Sadly these days, such tomes often get pushed aside in favor of the latest sci-fi/fantasy/superhero special-effects extravaganza.

But there is a certain charm in seeing ordinary people being thrown into harrowing circumstances — only to survive on their intellect, cunning, and stoicism. 

While “The Commuter” lacks the subtlety and nuance that would elevate it to “classic thriller” status, there is enough momentum on this train to get the job done. 

Previous post: Looking Back at 2017