Il killer professionista Jimmy Conlon (Liam Neeson), amico fedele del boss mafioso Shawn Maguire (Ed Harris), vive ossessionato dai crimini commessi in passato e da un ispettore di polizia che da trentâanni instancabilmente gli dĂ la caccia. Quando suo figlio Mike (Joel Kinnaman), che non vede da anni, assistendo ad un omicidio entra nel mirino del boss, nel giro di una notte Jimmy sarĂ costretto ad una difficile scelta.
An aging hitman is forced to take on his brutal former boss to protect his estranged son and his family.
Commento critico (a cura di JUSTIN CHANG, www.variety.com)
LIAM NEESON DOES HIS THING, AND DOES IT WELL, IN THIS ROBUSTLY SATISFYING IRISH-AMERICAN MOB THRILLER.
Someday the mobsters, petty thugs and crooked cops of the world will finally get it through their thick skulls that you should never, ever mess with Liam Neesonâs family â not that audiences have reason to complain in the meantime, so long as they keep getting action pictures as straightforward and robustly satisfying as âRun All Night.â In his third and arguably most effective partnership with director Jaume Collet-Serra (after âUnknownâ and âNon-Stopâ), the 62-year-old Neeson puts his world-weary killer instincts to good use as an aging Brooklyn hit man trying to protect his estranged son â a twist that pushes this tense, elegantly assembled chase thriller into full-on male-weepie territory, so heavy with sins-of-the-fathers anguish that it almost plays out like a latter-day âRoad to Perdition.â Yet Collet-Serra keeps things moving so nimbly
that the emotions never turn leaden, suggesting that this Warner Bros. programmer could display some much-needed commercial stamina in a season of box office disappointments.
In less assured hands, movie titles like âNon-Stopâ and âRun All Nightâ might have promised something of a viewer endurance test rather than the efficient, fleet-footed genre exercises that have gratifyingly emerged. After a shaky but intriguing start with 2011âs âUnknown,â Collet-Serra and Neeson have proven themselves to be expert recyclers, devising a series of brawny standalone entertainments delivered with enough smarts and style â not that a whole lot is required, mind â to outclass the actorâs âTakenâ franchise. (Last yearâs âNon-Stopâ even managed to outpace the recent âTaken 3â domestically, earning $92 million Stateside to the latter picâs $88 million.)
This time around, however, director and star have dispensed with their earlier Hitchcockian wrong-man scenarios. Thereâs no mistaking Neeson for anything but the right man
in âRun All Nightâ â namely, Jimmy Conlon, an Irish-American mafioso who knows his pursuers all too well and can scarcely begrudge them for wanting to hunt him down. Remarkably, despite the narrativeâs compact 16-hour time frame, an entire gangland history manages to come into fleeting focus, as Collet-Serra freights even the most offhand exchanges of dialogue (and gunfire) with a disquieting intimacy that underscores his charactersâ shared experience: Whether conceived on a grand scale or in close quarters, the violence always feels personal.
If thereâs a weakness in the clean, economical screenplay by Brad Ingelsby (who co-scripted 2013âs âOut of the Furnaceâ), itâs that Neesonâs character seems perhaps too forlorn a figure at the outset, an impression that doesnât entirely jibe with the keen-witted man of action who emerges later. Once known as âthe Gravedigger,â the deadliest arrow in the quiver of respected Brooklyn kingpin Shawn Maguire (Ed Harris), Jimmy
is now a hopeless hanger-on, stuck nursing a lifetimeâs worth of regrets with endless glasses of whiskey, and forced to earn quick cash by performing humiliating favors for Shawnâs son and heir, Danny (Boyd Holbrook). Handsome, spoiled, callow and monstrous, Danny has clearly absorbed the elder Maguireâs ruthlessness but none of his professional scruples or life knowledge. By contrast, Jimmyâs lone son, Mike (Joel Kinnaman), has become a paragon of working-class virtue â a dutiful family man who wants nothing to do with his old man and his life of crime.
With the various intergenerational contrasts and parallels thus established, all the long-simmering tensions suddenly explode one winter evening when Mike, a limo driver in the wrong place at the wrong time, witnesses Danny blowing away an Albanian heroin dealer. (For all its general superiority to the âTakenâ movies, âRun All Nightâ is no improvement in the ethnic sensitivity department.) In
short order, Mike is forced to renew ties with the hated Jimmy, his only hope of staying alive and ensuring the safety of his pregnant wife (Genesis Rodriguez) and two daughters (Giulia Cicciari, Carrington Meyer). In one of the scriptâs shrewder gambits, Jimmyâs instinctive decision to side with his own blood has the immediate effect of severing all ties to his employer, something both sides accept with almost matter-of-fact resignation. Viewers may be reminded of the similarly strict gangland protocols that governed last yearâs Keanu Reeves starrer âJohn Wick,â in which longtime business associates, faced with an unexpected personal betrayal, calmly negotiated the terms under which they would proceed to obliterate each other.
Liberated from the confines of a 767 in âNon-Stop,â Collet-Serra fully embraces his newfound sense of visual freedom, sending the camera whooshing in all directions across the city â a mode of transitioning between scenes that feels a
trifle flashy, yet potently conveys the storyâs scope. (Brian Heller is credited with the aerial photography.) Although Ingelsbyâs script was originally set in his hometown of Philadelphia, âRun All Nightâ turns out to be one of the more immersive New York-shot genre movies of recent vintage, benefiting from d.p. Martin Ruheâs moody nocturnal lensing and production designer Sharon Seymourâs richly conceived sets; many of the fictional backdrops used, from Shawnâs Irish-pub HQ to the boxing gym in the Bronx where Mike trains neighborhood kids, draw upon (and sometimes artfully combine) locations in different boroughs.
No less impressive is the filmâs integration of the cityâs topography and architecture into its most ambitious action sequences, from a palpably tense car chase through the streets of Brooklyn (ultimately ending, in a sly visual shortcut, at a pawn shop in Queens), to a daring escape filmed during the chaotic aftermath of a Rangers-Devils game at
Madison Square Garden. Perhaps most daunting of all is a setpiece that covers multiple floors of a burning apartment complex, as the Conlons set out to protect an innocent kid witness (Aubrey Omari Joseph) while dodging a skilled contract killer (Common, a long way from âSelmaâ). Through it all, whether incorporating parkour moves into a breathless foot chase or staging a climactic three-way manhunt in the foggy wilderness near Putnam, N.Y., Collet-Serra displays a level of crafty professionalism and logistical knowhow worthy of his resourceful protagonists.
With its grim, fatalistic twists and brooding air of patriarchal anxiety â this is a world where sons are doomed to suffer the consequences of their fathersâ mistakes, or repeat them to even more damaging effect â âRun All Nightâ doesnât exactly cover new ground. (One narrative digression feels particularly unnecessary in its attempt to crank up Mikeâs resentment of Jimmy; mainly, it exists to
justify an unbilled cameo from an actor whose presence is welcome but not essential.) Yet even when heâs dealing with this boilerplate material, Collet-Serra brings an understated intensity and a subtle emotional pull to every scene, aided immeasurably by actors who invest their roles, big and small, with just the right degree of conviction.
By now it should come as a surprise to no one that Neeson has become perhaps our most consistently reliable and bankable action hero, and âRun All Nightâ ably taps into his reserves of grit and gravitas as Jimmy leaps into action, takes down enemy assailants, and above all protects those he loves, even if it means sometimes ramming them off the road. As ever, the actorâs handsome, careworn face seems capable of projecting decency and tenderness as well as cruelty, perfect for the role of a cold-blooded killer we intuitively trust. Jimmyâs interactions with his old
friend-turned-nemesis Shawn are among the filmâs most affecting moments, not least because Harris is one of the few actors capable of looking utterly dead-eyed while still possessing a certain soulful twinkle. Also leaving strong impressions are Bruce McGill as Shawnâs formidable No. 2 and Vincent DâOnofrio as one of the few honest cops in a city overrun with police corruption.
Kinnaman, who anchored last yearâs âRoboCopâ reboot, more than holds his own opposite Neeson while revealing a crucial dimension of vulnerability. Although a physically tough specimen himself, Mike is a man for whom violence doesnât come naturally, and Jimmy is determined to keep it that way, repeatedly intervening so that his son will never know the soul-crushing agony of taking a life, even in self-defense. Itâs an overtly moralistic, vaguely Catholic touch, and one that canât help but ring slightly false in a movie that, like so many of Neesonâs assignments
of late, turns the spectacle of mass killing into a job well done.
Secondo commento critico (a cura di ENRICA MANES e LUCA BOCCACINI)
Comunque vada, l'equilibrio Ăš rotto e l'alba racconterĂ ,
se non altro, qualcosa di nuovo per i protagonisti, nonostante i dialoghi oltremodo stereotipati e le scene, a tratti stucchevoli, ci appaiano come giĂ visti e sentiti in un susseguirsi di fughe, ricerche, inseguimenti feroci in automobile, flashback vagamente onirici che rendono variegata la narrazione e il montaggio comunque incalzante. Quindi le sparatorie, che nel loro intento, secondario o primario, vogliono altresĂŹ far trasparire l'epica ricongiunzione tra padre e figlio, quelle che avvengono nei momenti bui, o semmai a Natale quando si Ăš tutti - ma proprio tutti piĂč buoni - o quasi... E il cattivo con i propri seguaci perisce.
Nota: Si ringraziano Warner Bros. Pictures Italia e Silvia Saba (SwService)