"I take orders from the Octoboss."

Cold Pursuit

COLD PURSUIT – which could be called HELLY HANSEN PRESENTS ‘COLD PURSUIT’ in my opinion – is an odd duck of a Liam Neeson vehicle. His character Nelson “Nels” Coxman is a man with a very particular set of skills, but they mostly involve driving a snow plow. He lives a simple life in a big house in a tiny ski resort town 3 and a quarter miles from Denver, Colorado. It’s one of those places where people have to be kinda rugged but they’re also laid back and individualistic. It’s always cold outside so they mostly just find ways to relax in their big houses. Nels’s wife Grace (Laura Dern, WILD AT HEART) smokes a joint while cooking up some meat from the reindeer that Nels and their son Kyle (Micheal Richardson, VOX LUX) hunted a while back.

Nels is a little nervous about having to make a speech after winning Citizen of the Year. Otherwise they seem to have a nice comfortable lifestyle going when all the sudden Kyle turns up dead – we know he was murdered by drug dealers, but the coroner (Jim Shield, SHANGHAI NOON, who looks like a more hard living Chris Pine) says it was a heroin overdose. Nels is so broken up he puts a shotgun in his mouth but when he’s interrupted by Kyle’s bloodied and apologetic friend Dante (Wesley MacInnes, POWER RANGERS) and learns what really happened, it’s not long before he’s sawing off said shotgun to fit in his jacket and go trying to find the people responsible.

Congratulations to Michael Eklund for getting a memorable scene as the eminently-hatable “Speedo,” the first guy Nels goes after. I know this guy from DTV movies (SMOKIN’ ACES 2, HUNT TO KILL, TACTICAL FORCE, THE MARINE 3, SEE NO EVIL 2) and he’s in several Uwe Bolle movies, so this is kinda high class for him.

Nels is not a mastermind, he’s just blunt. Since he was gonna kill himself anyway, guys pointing guns at him doesn’t ever stop him from popping them in the nose. The violence that involves fists or weapons is of the harsh and bloody, maybe this is too much style rather than the type that’s supposed to be cool, but it’s generally in a darkly humorous context. There’s also, of course, some unsanctioned uses of the snowplow, which is obviously gonna have a little sick joy to it. And it’s a comical premise that Nels’s actions cause a deadly gang war completely by accident. He has no clue about playing one side against the other – I’m not sure he even is aware of different sides – it just happens when the arrogant kingpin Viking (Tom Bateman, SNATCHED) jumps to the wrong conclusions. Every time a character dies their name is written on a title card in memoriam, and the names start to pile up as the situation gets out of control.

That’s also what happened in the 2014 Norwegian version, IN ORDER OF DISAPPEARANCE, from the same director, Hans Petter Moland (ZERO KELVIN). Turns out it was a mistake to watch the original in preparation for COLD PURSUIT. If I hadn’t seen it I think I would’ve gotten more enjoyment out of this as a Neeson joint where his character is a little different and there’s a quirky sense of humor with the supporting characters and the way the conflict escalates out of the villain’s incompetence. I did enjoy it, but I thought maybe it would be more of a souped up Neesonification for American audiences. And I don’t know if such a thing could ever work, but it would feel more like a new movie than this slight remix. Because it’s so similar to the first telling I couldn’t stop missing the actors who originally played the protagonist and antagonist.

Pal Sverre Hagen, who played “Count,” the Norwegian version of “Viking,” is more like a young, tall Christophe Waltz. He seems less capable of filling his father’s shoes, and more arrogantly deluded that he can. His anger is more of a passive-aggressive whininess that eventually boils over – funnier and scarier.

I always like Neeson’s characters, but Stellan Skarsgard’s Nils Dickman, the original Nels Coxman, is unmatchable. Though Neeson is playing a more introverted character than usual, and though I think Moland intentionally emphasizes the weirdness of his nose and forehead in profile shots, he still has many opportunities to speak in his usual booming voice and seem like a normal Neeson character. Sometimes while threatening his way up the drug dealer ladder it only seems different from a TAKEN because he’s not wearing a leather jacket.

I think Skarsgard’s inscrutable version works much better – he’s such a quiet blank, unable to articulate much with words or even expressions. He’s rugged in a normal old-man-who-works-outdoors sort of way, but such an anonymous blank that no one sees it coming when he’s fearless enough to come after them and succeeds in overpowering them. Since Neeson does not approach the character with the same minimalism it feels weird whenever it comes back to him after long stretches focusing on the gang, like they forgot to give Liam Neeson enough scenes in a Liam Neeson movie.

The rest of the cast was also great in the original, but their variations here went down easier for me. It was cool to see Domenick Lombardozzi from The Wire as a more macho American version of the likable #1 henchman. John Doman, also from The Wire, plays a friendly local cop who’s partnered with Detective Kim Dash (Emmy Rossum, MYSTIC RIVER), the one cop on the verge of figuring out what’s going on here. She takes police work more seriously but he’s cool because he convinces her not to hassle snowboarders about public joint smoking. (This might be the first movie I’ve seen that acknowledges weed being legal in parts of the U.S.)

I thought Dominic West was also in it but upon further analysis it was the similar-looking Canadian actor Aleks Paunovic (DRIVEN TO KILL).

Dern has her own take on the wife, who again seems completely correct in being angry at him for his lack of communication after the death of their son. Her belief that he refuses to come to terms with their son being a drug addict is factually incorrect, but completely reasonable. If the way she tells him she’s leaving him was the same in the original, it must not have made an impression on me like this did. Man, that was cold, and weird. One of my favorite touches in this movie.

Some excellent casting is William Forsythe (ONCE UPON A TIME IN AMERICA, STONE COLD) as Nels’ estranged brother Brock, a former member of the gang, who he goes to for help. He still has a wife (Elizabeth Thai, True Justice) who is correctly angry about Nels visiting even though she’s mistaken that he’s one of his crime friends.

The women are more combative in the original, and I think they have every right to be. So it feels like a little bit of capitulating to American tastes that they’re nicer in this one. Viking’s ex-wife Aya (Julia Jones, HELL RIDE, JONAH HEX, WIND RIVER) only aggravates him by being correct, not by pushing his buttons the way the Norwegian one did so spectacularly. And she must’ve seen the original and known what was coming because SPOILER in the shocking moment where he explodes and hits her she ducks it and grabs him by the nuts! Like some Nicolas Cage in NEXT shit.

Adapter Frank Baldwin (a newcomer who will soon be writing a TV series version of THE WARRIORS) does come up with some unique settings and confrontations for Nels. Viking owns a night club – I like that Nels casually strolls onto a dance floor through crowds of various subcultures wearing his outdoor gear including giant parka with reflector strips.

In this version the henchmen still feed Fruit Loops to the boss’s son Ryan (Nicholas Holmes, “Young Norman,” Bates Motel), but the parents don’t have any arguments about that specific product. Viking does demand a certain strict diet and stop the kid from eating cookies, but it’s his own weird thing that annoys the ex (in the original I got the impression it was mostly a show for her, to make it seem like he was a good parent).

Baldwin turned the Serbian gang into a Native American one, which mostly works but unfortunately seemed to bring out the racism in my audience, judging by the laughter at the non-jokey mention of casinos. They also loved the dumb joke where a Native character says to “make the Indian do it” and then it turns out there’s one guy in the gang who appears to descend from India. Get it?

Unfortunately the funny neighbor character whose line about immigration I was hoping would carryover does not have an equivalent in this version.

If I’m not mistaken, it was a new addition that Nels and Brock’s dad was also in the gang and worked with Viking’s dad. This further emphasizes that it’s a movie about fathers and sons. Nels is avenging his dead son, with one foot in the criminal world because his brother followed their dad into it. Viking is struggling to live up to his dad, he’s also a shitty father to a gifted son. The drug lord White Bull (Tom Jackson, Shining Time Station), like Nels, has his only son killed by Viking, and tries to get back at him through his own son. And I suppose Nels proves that he’s the best of them by becoming a temporary father figure to Ryan, though the kid is smart enough to identify his feelings as Stockholm Syndrome. Moland toys a little bit with allowing the protagonist’s behavior to be creepy. I think we’re supposed to root for him and then occasionally feel uncomfortable with ourselves.

Which, uh, brings up the current event thing I feel obligated to address. Maybe you’re reading this in the future and this has all been forgotten, or maybe COLD PURSUIT will turn out to be the movie that’s only remembered as the one that Neeson was promoting when he said that one thing at a junket. In a strange moment of unsolicited honesty during promotional duties, Neeson told an interviewer a story he said he’d never told anyone before about a time around 40 years ago when someone he cared about was raped, and it inspired him to stroll black neighborhoods with a club hoping to get in a fight and beat someone to death. He presented it as a story about the ugliness of violent revenge – clearly a confession of something in his past he found shameful. But he didn’t seem to fully take into account that he was revealing more than just a lust for retribution in his younger self.

In DEATH WISH, Paul Kersey takes out his anger on random criminals, genuinely bad people unrelated to the crime against his family, and in the end I think we’re not even supposed to agree with that. In Neeson’s story (perhaps remembered or explained wrong), he supposedly asks the race of the rapist, then wants to take out his anger on a random person of the same race. And unfortunately even in a later apology he didn’t seem to fully grasp the need to acknowledge this literally racist attitude and how he hopefully moved beyond it.

I don’t know if that too-much-information is gonna make some of his movies play differently than they used to. Luckily here he’s strictly avenging white people directly involved with the crime he’s avenging, which off the top of my head I think is what most of his action movies are like. Unfortunately there is a tone deaf scene he’s not in where the black hitman The Eskimo (Arnold Pinnock, BAIT, EXIT WOUNDS) awkwardly uses ebonics just so Viking can “correct” his English, like when he says “ax” and Viking says “ASK!” I figured the Norwegian director didn’t understand how this would come off to us, but of course my “Indian casino = laugh” guys loved that part.

I don’t know if it was that audience that made the scene where two male gangsters are revealed to be lovers feel like it could’ve been intended as shock value. To their credit, they behaved themselves. In the original it’s a clearly humanizing moment that made the characters more sympathetic and gave a reason for more tension between the kingpin and his men, something that’s not as apparent in this version. So I think Moland is innocent on that one.

Despite my misgivings, I think you can tell by my description that this is not a typical movie. I definitely recommend COLD PURSUIT if you are in the category of people who 1) have not banned Liam Neeson from your current entertainment diet and 2) have not yet seen IN ORDER OF DISAPPEARANCE. And then after that you should see IN ORDER OF DISAPPEARANCE.

This entry was posted on Monday, February 11th, 2019 at 11:27 am and is filed under Action, Crime, Reviews. You can follow any responses to this entry through the RSS 2.0 feed. You can skip to the end and leave a response. Pinging is currently not allowed.

36 Responses to “Cold Pursuit”

  1. German names have less e’s than you think.

  2. I was surprised at just how close this was to IN ORDER OF DISAPPEARANCE. There are differences, yes, but most are minor, usually just a practical change to make something more American. The majority of the film is scene-for-scene, beat-for-beat, the exact same movie.

    And, unfortunately, it’s clearly the inferior movie, and I have to agree with Vern that the main flaw is with the 2 lead roles. They throw the whole vibe of the movie off; something about the darkly comic tone is not conveyed as well in their performances (the audience I saw this was largely silent, I’m not sure they even got that it was a comedy until the final scene).

    It’s not terrible, and if I hadn’t seen the original first I’d probably at least be praising COLD PURSUIT for novelty and for having a lot more personality than your standard revenge thriller. And I guess it makes for an interesting comparison, a little experiment in how minor changes can make a big difference in terms of the overall project. But yeah, if you haven’t seen IN ORDER OF DISAPPEARANCE, just see it instead of this one.

  3. RE: the Eskimo scene. Almost the exact same thing happens in the original, with the Count similarly berating an Asian hitman for his poor grammar. So I think there is some sort of commentary about racism going on here, or at the very least it’s supposed to make the gangster more hateable in both versions, because on top of everything else he’s such a petty prick.

  4. You were pretty easy on this one Vern. I thought it played more like one of those mid-90s Faux-Tarantino movies about hitmen etc with horrible pop-culture dialogue. If there wasn’t an original version of this I would have assumed the director fell into a coma in 1996, woke up in 2018 and made a movie without bothering to follow up on what changed in the last 22 years. I live in Australia so you better believe the audience was slapping their knees at each and every one of the 8000 racial slurs/ stereotypes in this shit. Also, I feel like Liam Neeson was only in this for the first and last 30 mins, which as you pointed out, is a problem.
    Also loses points for ending on a hilarious joke for morons.

  5. This has flown in completely under the radar here in Norway. All we’ve been talking about when it comes to Moland is his newest, OUT STEALING HORSES. I don’t even get how he had time to finish it without the press writing anything about the process.

  6. I couldn’t put my finger on why I preferred the final joke in the original. I think it’s because the buildup was this captivating mostly silent drive with these two intense characters, so enjoying the beauty of the parachutist together seemed more sincere.

  7. The actor playing White Bull in this does a fine job; unfortunately his comprable role was played by Bruno Ganz in the original, and that’s just not fair. Ganz oozes gravitas, which I think ups the sincerity factor Vern is referring to.

  8. Re: The Asian hitman scene in the original: There is something lost in translation, because the Asian isn’t just only called the Chinaman, he also Danish, which the Count’s wife also is. Of coruse Nils Dickman is Swedish, which doesn’t really have anything to do with it, but just worth a mention. So in the original the Danish Asian hitman wouldn’t necessary know the Norwegian gramma. I’m not an expert on the difference between Norwegian and Danish gramma, and perhaps the Count was right, but there is made a point that the hitman doesn’t see him self as Chinese, but Danish as far as I remember.

  9. A bit unfortunate that Neeson was race-specific in his comment. He should probly explain that one. The anger at the crime against a loved one I understand. The need for revenge I can sort of relate to in a primal way. Targeting a specific race is just racist.

    An ex-girlfriend years ago told me about a sexual assault she endured as a teenager. The guy that supposedly did it(who had also been a teen at the time of the alleged incident) lived in my street, so I knocked on his door one afternoon, with my girlfriend present, and had a little chat with him. Violence did not ensue, but I was forward enough to expose him for the piece of shit he had been, resulting in some kind of an apology on his part. Which went a small way to validating the violation. Not much, but enough to satisfy.

    Seems to me that the broader internet/twitter/white-noise community are the only ones fueling the exposure of Neeson’s ignorance. Unplugging from the Matrix for a while might help put things back into perspective – namely, no ones fucking perfect or complete. It won’t affect my enjoyment of his art. It might inform it to an extent, but this exposure will just make him more interesting to me.

  10. Why did they feel the need to rename the protagonist from “Dickman” to “Coxman”?

  11. “Penisman” was taken?

  12. this was not a good film, in fact i would argue it was a bad one. it was weird and somewhat interesting (but trying way too hard at that) and i did spend the majority of it being baffled by most of what was going on and what exactly the movie was aiming for.

    everything about it just felt off, from the score to the editing to the performances etc. speaking of editing, did anyone else notice how most of the scenes in the film got out a couple beats too soon? like, even going so far as to fade to black over the ends of lines of dialogue but in a way that felt amateurish and not like a stylistic choice?

    there were so many other WTF moments and sequences too, like the scene with the Native American drug dealers on the ski slope. what was that scene!!? or the resolution to the (SPOILER) subplot regarding Neeson and the Big Bad’s son. Neeson just leaves the kid stuck in a fucking storage locker to either hopefully be a) discovered by the cops if and/or when they arrive or b) left to just wander out into the aftermath of a massive gunfight with about forty corpses strewn about the place, where one of the victims happens to be his dad. a variation on which must be what happened because the last we see of him the little fucker has commandeered a fucking snow plow and is racing away from the scene in it! it’s just bizarre. it’s the kind of unintentional strangeness usually found in DTV joints, not major theatrical releases.

    the whole movie also gave me the impression that it wanted to be saying something of importance or making some kind of statement, but it had no idea what that was, so it would just throw shallow allusions to a deeper subtextual reading at the screen without actually properly considering them or fleshing them out.

    the movie’s a hot mess.

  13. I like that they play around on the ski slope, but maybe because it already worked for me in the original it has some kind of carryover appeal. Basically all the men in this world act very serious and tough but are kind of like big children. When the Serbians/Native Americans have to wait around endlessly for this guy they get bored and decide to play around in the snow and have fun. And I’m not sure if the boss is okay with it or not but he just watches. These little moments are part of what make the personality of the movie(s).

    (Man, I could swear there was another recent movie or movie I watched recently at least that had a random snowball fight in it, but it’s driving me crazy trying to figure out what it is.)

  14. Maybe it’s just me, but it seems a little condescending that when you have a male vigilante avenging a dead loved one, it has to be an act of macho bullshit that causes tremendous suffering, but when you have a female vigilante avenging a dead loved one, it’s this wonderful, empowering thing that ends up benefiting the community. It makes the whole eat-your-green-veggies message of “violence doesn’t solve anything” seem like some insincere platitude the filmmakers pull to cop their way out out of just making a movie full of fun violence, but when they do a movie with a female lead, they just swap that cover story out with an (equally insincere?) thing about girlpower.

  15. Ghost, Norwegian and Danish grammer are pretty similar, but the Danes pronounce the words – at least if you look at how they’re spelled – in a sloppy, shortened, slangy way.

  16. I feel like someone else gave their sideways verging on downwards thumb take on it here recently, but I found THE ICE ROAD to be an above average Neesoner and a decent Hensleighnesance. It starts a little unpromisingly with an ALONG CAME A SPIDER-level CGI episode road accident, but quickly picks up. It touches on a couple of hot button themes I don’t feel particularly qualified to say were or were not handled well, but taken as a whole package I enjoyed it.

  17. I’m looking forward to THE ICE ROAD. Turns out it was Neeson, and not Statham, who was the “new Bronson”.

  18. I concur! After the colossally mis-marketed COLD HARVEST (was unaware of it’s Scandinavian Black Comedy antecedents) and the terminally bland and boring HONEST THIEF and THE MARKSMAN, THE ICE ROAD represents a marked improvement for a Neeson actioner. It pulses with energy and urgency and overcomes some obvious budget limitations with a crackling pace and the most relentlessly indestructible baddie outside THE TERMINATOR franchise. As far as the marriage of disaster pic with action flick goes, this beats THOSE WHO WISH ME DEAD by a wide mile.

    Ice trumps Fire.

  19. I had a reasonably good time watching both THE MARKSMAN and HONEST THIEF. Neeson is 69 now. When Bronson was 69 he did YES VIRGINIA, THERE IS A SANTA CLAUS. And Lee Marvin was dead.

  20. I don’t know why I watch all the Liam Neeson movies since I don’t like them that much, but I’ve seen all of the above. In my opinion THE HONEST THIEF was so boring as to be legitimately hard to sit through, but I thought THE MARKSMAN was decent, I didn’t regret my time with that one. ICE ROAD was kind of chintzy at times, but it’s the best of the bunch for sure.

  21. The main attraction for me I think when it comes to THE HONEST THIEF is that it gave Jeffrey Donovan a decent role. That guy needs to get more work.

  22. I continue to be fascinated by these crossover people who spend a big chunk of their careers being one kind of type and then spend the last 10 or 20 in some other lane. Neeson was almost always “serious actor guy” in the 90s and 00s. Denzel has been on a similar journey. I suspect maybe it has something to do with which roles still pay the bills or will get you a major studio headlining theatrical release. Not sure if it’s bills or ego or just boredom and enjoying the wish fulfillment aspect. But I definitely think there’s something to the fact that the kind of roles Neeson or Washington would’ve been headlinining in the 90s are just not going to be notable theatrical events these days (though that Ben Affleck alcoholic coach movie that came out right around Covid’s landfall was sort of in that lane).

    Also interesting is how guys like Denzel and Neeson — whose careers have substantially overlapped with Arnold’s or Sly’s or Bruce’s or Wesley’s — have come to occupy this lane, while those action stars of yesteryear who aren’t that much older can’t really carry a film like that anymore.

    Anyway, this connects back to the Leslie Nielsen comments I made elsewhere, because he, too, was able to transition into this totally other kind of persona or set of associations.

    I have seen a few of the late-Neeson actioners and can’ts say I’ve really loved any of them. Like I saw NON-STOP and COLD PURSUIT and WALK AMONG THE TOMBSTONES, and there is some vague kind of comfort watch quality to Neeson. His height (he is actually tall, right?), his quiet mild-mannered stoicism. There’s an intensity about him and often a world-weariness in him, so, you just feel like he’s either actually capable of things or else he’s got nothing to lose or fear in some of them. One thing he doesn’t do though is crackle with scenery-chewing charisma or deliver a lot of memorable moments (‘very special set of skills’ line notwithstanding).

    He brings what nuances he can, I guess, but he’s always playing intensely quiet Liam Neeson, whereas I think I probably prefer intense but very comfortable in his own skin Denzel. I liked Denzel a lot in those EQUALIZER films better than I’ve liked anything in the Neeson action canon. Not that it’s one or the other, but if i’m picking a mid-to-late 60s former (?) “serious actor” turned Bronson type, I’m going with Denzel. Okay, actually, I’m just going specifically with EQUALIZER.

  23. Other questions that keep me up late at night pacing and reaching for the Tums and then looking wistfully out the window are, what is it about a person like Neeson that gets him into this space when a person like Bruce Willis or John Travolta or Nic Cage go to DTV land? Why do Liam Neeson and Denzel get all these roles, or do these other guys just not want them? I am not well-versed in the economics or quality of life aspects of doing 6 DTV quickies in a year vs. doing a couple of these Neeson joints, but it’s not obvious to me that the former is a better deal or the more enjoyable life, so, I can’t really explain this.

  24. My guess is that, like Bronson, he’s not difficult to work with. Charlie used to say that he did no research or over thinking. He just showed up, knew his lines, and let the director do whatever he wanted. I’m not saying Neeson’s like that, but he could be. And, perhaps more important, Neeson can do serious shit too. You just couldn’t use Willis , Travolta or Cage in SCHINDLER’S List.

  25. My total guess is that people like Bruce and Stallone, etc. still want to look badass heroic, and the fans want them to be badass heroic. Neeson is fine with looking tired and sad and over his head but also badass.

  26. Pretty sure Bruce doesn’t care how he/his double looks these days as long as he gets paid.

  27. My feeling is that Willis and Neeson both get sent the same “older tough guy on a medum budget” scripts, but Neeson is the bigger draw at this point so he gets first dibs and Willis is stuck with the leftovers.

  28. What I don’t fully understand is why Neeson gets first dibs, but I think he conveys more vulnerability or desperation and subtle emotional notes, whereas Willis seems only capable of wise-ass and flat affect. I think maybe Neeson’s just the better actor and the less smug persona.

  29. I think Willis could probably be in better stuff if he wanted to, but like Pacman said, he doesn’t care. His priority is not ‘making something good,’ his priority is ‘making as much money as possible for as little work as possible.’ I don’t blame him. I’d love to work for a week, collect a million dollars, and then go back on vacation. Seems like a pretty nice life.

  30. Skani, you be overthinking this shit. It’s all about your Brand and how hard you work to prevent it’s dilution. Please refer to this helpful KayKay primer on the stars you mentioned:

    Denzel Washington: One of the last remaining bona fide A-List Movie Stars who, like Tom Hanks, still expertly straddles the critical and commercial and whose presence in a movie automatically coats it with an extra sheen of respectability.

    Liam Neeson: A talented character actor who lucked into Action Movies and has since consistently produced an assembly line of efforts that stays just on the right side of production values and budgets and combined with Neeson’s own soulful charisma, keeps them out of DTV Dungeon

    Nic Cage: The financial quagmire he find himself means he will currently star in a home movie shot by your 8 year old nephew on a hand-me-down iPhone 6. And will still give it his all.

    Bruce Willis: Will show up for half a day’s work on a 5 minute role shot inside a dilapidated warehouse in a seedy outer suburb of Romania, just in time to collect his paycheck and be an asshole to the director.

  31. Guys, you’re forgetting one thing that Neeson has, that none of these other action star has. He gets recognized and hailed by 5-35 year olds for some science fiction role he did 22 years ago. My 17 year old son is a massive Neeson fan. He watched THE COMMUTER with me because it was Neeson. And even if he and his siblings couldn’t give a fuck about THE MARKSMAN and COLD PURSUIT and THE WIDOWS, when they see me watching them flick they always ask how they are.

  32. Pegsman, now I really want to see Nicolas Cage as Oskar Schindler. God, I hope they list all the names in alphabetical order!

  33. Meanwhile, in watching-movie news, I took y’all at your word and watched THE ICE ROAD, which I enjoyed while I was watching it. It’s undemanding and fun, which I think is what was said here. The indestructible villain was certainly the best part and I very much hope to see him crawl from the ice for THE ICE ROAD 2: THUGS.

    I’d argue that the final scene of THE GREY and the opening flashback of A WALK AMONG THE TOMBSTONES are genuinely great Liam Neeson action moments, in fact well above the “particular set of skills” speech from TAKEN.

    And IN ORDER OF DISAPPEARANCE rules. Pegsman, did you by any chance see Moland’s OUT STEALING HORSES? It looked like a departure for him, but I really liked the book.

  34. I’m afraid I haven’t seen it yet. But I’ve read Petterson’s book.

  35. Here’s the trailer for Liam Neeson’s BLACKLIGHT (2022)

    Blacklight - Official Trailer (2022) Liam Neeson

    Trust, identity and the danger of unchecked power push a covert operative to the edge in director Mark Williams' intense action-thriller Blacklight. Travis B...

Leave a Reply

XHTML: You can use: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <s> <strike> <strong>