“Absolution” is a film that stars Liam Neeson as a character who embodies the classic archetype of the fallen man yearning for redemption. The crime thriller, written by Tony Gayton and directed by Hans Petter Moland, touches upon themes of familial estrangement, moral reckoning, and the quest for atonement. However, despite Neeson’s undeniable charisma and screen presence, the film struggles to breathe new life into a well-worn narrative of redemption. At its core, “Absolution” suffers from a lack of originality, rendering it a derivative addition to Neeson’s filmography that fails to distinguish itself amidst a landscape of similar stories.
Neeson portrays a Boston gangster with a terminal illness, a plot device that sets up an obligatory journey of self-discovery and reconciliation with his estranged daughter, Daisy, played by Frankie Shaw. The character, simply referred to as “Thug,” lacks depth and dimension, often feeling like a puppet in a script that relies heavily on familiar tropes. The film paints its supporting characters in broad strokes, relegating them to mere plot devices rather than allowing them to emerge as real, relatable human beings. This cardboard character framework detracts from any emotional weight that the narrative may have aspired to achieve.
The gangster-dad figure is not a novel concept, and it’s disheartening to see “Absolution” recycle these flawed archetypes without striving for nuance. The relationship between Neeson’s character and his daughter, who works as a stripper while managing single motherhood amid financial distress, serves as a convenient backdrop for the story, but ultimately feels hollow. The interplay lacks the emotional resonance required to make the audience invest in their reunion, merely glossing over the complexities of their estrangement with insufficient exploration of their shared history.
The film’s treatment of its secondary characters is another area where “Absolution” falters. The inclusion of LGBTQ and sex worker characters feels like an afterthought, and they are all too often victims of regressive stereotypes. For example, Neeson’s character softly brushes over the death of his gay son from a heroin overdose—a plot point that serves more as a tool for Neeson’s character development than as a meaningful commentary on acceptance and loss. This casual incorporation of homophobia into the narrative, even if challenged briefly, leaves a bitter aftertaste and emphasizes the film’s missed opportunities for genuine dialogue about these important issues.
Furthermore, when Thug is inadvertently involved in human trafficking, the film presents this ugly reality in a manner that feels almost exploitative rather than insightful. His ultimate decision to rescue a woman serves as a turning point for his conscience, but the story lacks the profundity to effectively grapple with the consequences of such systemic issues. Instead, subplots like this distract from the core narrative rather than enhance it.
While “Absolution” showcases some visually stunning shots of Boston, the film fails to leverage its setting effectively. The action sequences, of which there are a few, often lack the dynamism or relevance needed to engage audiences fully. A noteworthy shootout scene inexplicably plays out without any repercussions, as if existing in a vacuum divorced from the bustling city surrounding it. As a viewer, one might find themselves screaming for a coherent focus in a narrative that juggles too many threads while neglecting meaningful emotional payoff.
“Absolution” ultimately leaves much to be desired, despite its promising premise and Neeson’s compelling performance. The film’s inability to carve out a distinctive identity within the crime drama genre leaves viewers dissatisfied, echoing the infamous phrase often heard in life’s theater: “pick a lane.” In failing to commit to a singular theme or emotional journey, “Absolution” becomes an exercise in frustration rather than a heartfelt exploration of redemption. While the film may resonate with those seeking an action-packed experience, it may not fulfill the deeper yearnings of audiences searching for a narrative grounded in authenticity and meaningful evolution.