That’s a sign a decent if formulaic thriller has taken a dive. And there’s a moment, when Pearce and Neeson share a tense scene that goes over-the-top memory-loss loopy that we can see “Man, can you hear the ridiculous lines they gave you?” in Pearce’s eyes, staring down Neeson. Of course there are stunts and physical feats that would be hard to believe a guy 20 years younger could pull them off. “It wasn’t supposed to go this far!” a target pleads. Neeson’s distinct, growled gift to one-liners is given a nice workout in Dario Scardapone’s script. “What’s important is what you do before you go.” “We all have to die, Vincent,” he tells his FBI pursuer at one point. Is he still nimble enough and tough enough, can he remember enough to pull off this house cleaning? He has to write details on his arm, in magic marker, just like Guy Pearce’s character did in Christopher Nolan’s “Memento.”
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He’ll evade the Feds and local law enforcement ( Ray Stevenson) and take out all the mobsters in this Mexico-to-Texas human sex trafficking/drug trafficking cartel, one by one.ĭirector Martin Campbell, of “Goldeneye,””Casino Royale” and “The Mask of Zorro,” more lately behind the camera for a Jackie Chan’s last hurrah “The Foreigner” and Maggie Q and Michael Keaton’s “The Protege,” ably sets up our quest, the moving parts in it and the story’s hook.Īlex is on medication. “She’s a child! I won’t do it!” doesn’t get a sympathetic hearing. She’s a kid who “knows things.” Unbeknownst to Alex, this tarted-up photo that he is told is his second target is her. Guy Pearce plays a similarly grizzled Federal agent who just saved a young teen ( Mia Sanchez) from her sex trafficker father, but who resists his efforts to put her in a decent foster care living situation. And he’ll check in on his catatonic brother in the nursing home while he’s there. There’s another job - a two-target hit - in Alex’s old home town of El Paso. “Men like us don’t retire,” Mauricio reminds him. “I’m getting out” he tells Mauricio ( Lee Boardman), his longtime go-between. Unsentimental Alex garrotes the guy, right in front of ventilatored Mom. That’s how he gets access to a “contract,” a made man visiting his mama in the hospital. In this adaptation of a 2003 Belgian thriller, Neeson is Alex, a tall older gent who travels the bloody borderlands between Texas and Mexico, driving inconspicuous beaters, dropping burner phones, passing himself off as a nurse, when the occasion arises. He plays a hitman who understands that it’s not the aim, the eyesight and the physique that decline the fastest, it’s the mind. In “Memory,” he wears the years and the miles on his weathered face and no-longer-hulking frame. Liam Neeson leans into his 70th year with a thriller tailor-made for a hard man “they” won’t let retire. A generation of them are either hanging it up or descending into C-movies to pad their estates as their years of kicking ass and tearing off tough one-liners pass.
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Our big screen tough guys are fading into the shadows, right before our eyes.