Download Run All Night
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Mobster and hit man Jimmy Conlon has one night to figure out where his loyalties lie: with his estranged son, Mike, whose life is in danger, or his longtime best friend, mob boss Shawn Maguire, who wants Mike to pay for the death of his own son.
In New York, the decadent alcoholic Jimmy Conlon is the former hit man known as Gravedigger. Jimmy is a lonely man and his only friend is the mobster Sean Maguire that was also his boss. Jimmy's estranged son Mike Conlon is a former boxer that works as limousine driver and is married with children. Sean's son Danny Maguire is an ambitious troublemaker. On the Christmas Day, Danny deals with Albanian drug dealers but Sean refuses to participate. Danny schedules a meeting with the men at home to give the money he had received back. Mike coincidently drives the two Albanian in the limousine and Danny kills them in his house. Then he hunts Mike down since he does not want eyewitnesses for what he did. Jimmy goes to Mike's house and saves his life killing Danny. Now Sean seeks revenge and puts a contract on Jimmy and Mike that are hunted down along the night by the mobsters, the hired hit man and the corrupt police officers. Sean does not want a deal and Jimmy's only chance to protect Mike and his family is the support of the honest Detective Harding that has been on his tail for many years.
It's a better-than-average example of the genre. The genre itself is familiar: All the bad guys are after a couple of good guys. But this one has a bit of texture. We have a bit of sympathy for Ed Harris, the chief bad guy. Harris is a retired mobster, rejecting offers to get back into the dope trade, and he has a loving family. Really bourgeois, you know? His problem is that he has a loopy son who is half nuts and goes around shooting folks for the slightest of reasons, laughing as he pulls the trigger.
One innocent bystander on whom he tries to pull the trigger is the son of Liam Neeson. Neeson, an ex mob hit-man, is forced to kick the loopy son off his mortal coil in order to save his own son, Joel Kinnaman.
What adds some additional dimension to the story is that Ed Harris and Liam Neeson are childhood friends. They grew up together and were particeps criminis. Now Neeson has killed the son of his only friend, and Harris is devastated. He promises to kill not only Neeson but Neeson's innocent son. The police are no help. Half are criminals themselves. And Harris sics every bad guy he knows on Neeson, Neeson's son, and Neeson's son's family. The rest of the movie is one long pursuit through the night-time streets of New York City, so ablaze with lights and glitter that it might as well be daylight.
I won't bother to spell out the various chases and shoot outs, which can easily be imagined by any experienced viewer. The car chase is required, of course, and all the conventions are observed -- two speeding cars in lots of traffic, each trying to bump the other off the road, and each bump preceded by a shot of the driver's enraged sideways glance. If you enjoy high-speed pursuits, you might want to watch the movie that started it all, "Bullett."
The direction only rarely draws attention to itself. Aided by CGIs it zips backwards through tree branches without disturbing any leaves, which is a rather nice touch. Sometimes it zips a little too quickly from place to place, and it does so a little too often. Once, the camera twirls 720 degrees just to get inside a subway car. (That's 12.57 radians. Just out of curiosity, I had to look up degrees/radians and figured I might as well throw the results in.)
I kind of like Liam Neeson. He's a big hulking presence whose nose begins somewhere between his eyebrows. He's endearingly clumsy. Ed Harris is quite good as the aging, repressed gangster. The guy has considerable range, from presidential candidate ("Game Change") to raving lunatic ("Just Cause"). He's really an accomplished actor. I ought to mention Holt McCallany in a minor role as one of Harris' thugs. He looks like he could go either way, morally, and you can't take your eyes off the guy when he's on screen.
RUN ALL NIGHT marks the third collaboration between star Liam Neeson and director Jaume Collet-Serra; their previous movies were the disappointing UNKNOWN and the above-average NON-STOP. RUN ALL NIGHT falls somewhere in the middle of those two films in terms of quality; it's a good enough mob thriller although not quite good enough to be considered a classic or indeed a regular watch. The film's very familiarity is what works against it throughout. Neeson and his adult son, played by Joel Kinnaman, are forced to go on the run from mob boss Ed Harris when things go bad, and the film follows the situation from there. It's set over a single night, which gives it some fun, but the story has been done before and done better, for example in Sam Mendes' ROAD TO PERDITION.
This means you end up watching the film to enjoy the other qualities. If a thriller's plotting is unremarkable then it must have outstanding action scenes, and the action in RUN ALL NIGHT is fun although not quite spellbinding. The bit in the subway station and the attack in the burning apartment complex are both good scenes but there are too many slow bits in the middle, and the two hour running time is half an hour too long. Collet-Serra can't do a proper transition scene without some lame CGI effects of the sped-up camera flying up in the sky and across the city, which I found quite tiresome after a while.
In terms of the cast, Neeson is on autopilot in this one. He looks old and tired and you wonder how much of that is really acting. Harris is suitably imposing as the antagonist of the piece, but his role is a virtual reprise of the one he played in A HISTORY OF VIOLENCE. Best of the bunch is the great Kinnaman, of the EASY MONEY trilogy, but he's kept off the screen for way too long. RUN ALL NIGHT is a fine enough slice of entertainment for genre fans but it's one of those films which simply doesn't hold up if you think about it too long.
While the dramatic themes echo the great crime movies of the seventies, it’s the modern flash and muscle that ultimately win out in this pacey yet less than satisfying action thriller.
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