This might not be the first time Leeson played a tough guy losing his memory. I can’t remember, can you? Regardless, he is in familiar territory playing the “Thug,” who has many regrets, starting with the realization he is his violent father’s son. Lately, his undiagnosed CTE has progressed to the point he must resort to jotting down key details of his life, including the name of his gangster boss, Charlie Conner.
Awkwardly, Conner assigned the Thug to his idiot son, Kyle, who wants to take over the family business. Of course, Junior lacks both the brains and the guts, but the Thug often covers for him, which makes the entitled junior gangster resent him even more.
By the time the former boxer gets himself checked out, the prognosis is grim. He waited way too late, but there really isn’t any treatment anyway. He still might have time to patch things up with his daughter Daisy, but it will take repeated efforts to wear down her calcified resentments. However, Dre, the grandson he never knew he had, shows some curious interest in the steely old man. Weirdly, the “Woman” he picked up in a bar also shows some interest. Yet, ironically, when the Thug can hardly remember the most important aspects of his personal life, he cannot forget the desperate woman he unknowingly helped traffic, as part of a sketchy deal the younger Conner negotiated [poorly].
Frankly, critics do not give Neeson’s recent action films enough credit for maturing with their star. The better ones, like In the Land of Saints and Sinners and The Marksman are character studies of men facing their mortality and meditations on the psychological and social costs of violence. Frankly, all three are pretty strong movies. Arguably, the less distribution Neeson’s films get, the more apt they are to be good (that could very well apply to plenty of other thesps, as well).
Regardless, Neeson is rock-solid as the Thug, including the legit dramatic parts, when the enforcer is forced to face the implications of his diagnosis. Actors have won nominations for worse performances involving similar material, but critics will automatically dismiss Neeson because he also kicks a lot of butt.
Do not expect bang-bang action every step of the way through Absolution. Nonetheless, Moland (who previously helmed Neeson in the remake of his own film, In Order of Disappearance) stages some tight, tense sequences, especially an ambush on the streets of Boston. Recommended with conviction for fans of Neeson and Perlman, Absolution is now playing in theaters, including the AMC Lincoln Square in New York.
