Compensation : Liam Neeson stuck in his car
In addition to being an expert on bullying and intimidation over the phone, Liam Neeson is also the transport specialist. The actor has already faced many dangers on the plane (Non-stop), on a commuter train (The passenger) or in a heavy vehicle driven at full speed on icy roads (icy road). Now he’s behind the wheel of a luxurious car with which the actor lives new explosive adventures Compensation.
Taken: This cult scene Liam Neeson found ‘cheesy’
In this feature film by Nimród Antal (Motel, Armored), Liam Neeson lends his likeness to Matt Turner, a Berlin-based businessman who tends to neglect his wife Heather (Embeth Davidtz), daughter Emily (Lilly Aspell) and son Zach (Jack Champion), completely absorbed by his work. One morning, when he was supposed to take his children to school before going to work, he received a terrifying phone call from a stranger who tells him that a bomb is under his seat, and that it will explode if he has the misfortune to try to leave his vehicle.
If Matt initially finds it difficult to take these threats seriously, his mysterious interlocutor very quickly proves to him that detonation is easy. In a panic, the businessman goes on a frantic run through the streets of Berlin to save his children, survive and try to discover the identity of the person who attacked him. A synopsis that will probably speak to certain viewers since the film is the remake of the Spanish thriller Unknown calldirected by Dani de la Torre and worn by Luis Tosar.
A Neesonerie without big surprises
In its first part, Compensation it is very faithful to its model and manages to build suspense effectively. The introduction is quick and Liam Neeson seems involved enough for the viewer to try to find out who this umpteenth antagonist who wants to kill him is. But where Unknown call resumed the banal codes of action cinema and thriller (Speed, Phone game) to link them to an interesting political narrative and thus delve into the nuances of its complex protagonist, a greedy and unscrupulous bank manager, this remake doesn’t care about the psychology of the characters.
With audiences undoubtedly so fond of Liam Neeson and so accustomed to seeing him triumph, Nimród Antal does not seek to mistreat him to offer him redemption through suffering. So the viewer is not never really worried about himand the actor of Taken himself seems less and less concerned by the telephone turn of events, no doubt tired of chaining soft and predictable feature films after Black light AND homicidal memory.
If it is still more energetic and engaging than these two previous projects, Compensation suffers from another major problem of staging: its inability to use a city as rich and varied in landscapes as Berlin, to use its huge squares and above all its inhabitants, preferring to invest empty warehouses and hangars. A flaw that constantly reminds us that the feature film was partly shot in the studio with led walls, when the illusion could have worked with such technology. Upon arrival, Compensation he therefore imposes himself like a lukewarm Liam Neeson, where desire is not felt without the result being shameful, but simply anecdotal.
Compensation it is to be discovered in cinemas from August 23, 2023.
Source: Cine Serie
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