In the Land of Saints and Sinners Reviews

After more than a decade of Liam Neeson starring in nearly indistinguishable, action-packed revenge thrillers, he teams up with director Robert Lorenz (The Marksman) for a second time to show that action movies don't have to lack substance for the sake of style.Set in 1970s Ireland, In the Land of Saints and Sinners opens with a group of IRA militants setting off a car bomb under orders from their leader Doireann (Kerry Condon). When the bomb inadvertently kills two young children, the group flees to a coastal town in Donegal with a name so Irish that Doireann herself can't pronounce it. There, Doireann's brother Curtis (Desmond Eastwood) begins abusing his sister-in-law Sinead's (Sarah Greene) young daughter Moya (Michelle Gleeson), unaware that Moya is friends with retired assassin Finbar (Neeson). This compels Finbar to kill once more, landing him and fellow assassin Kevin (Jack Gleeson) in a war with Doireann and her crew.The film certainly follows a formula, but with a few twists. An early monologue just before Finbar's last paid hit seems to foreshadow the ending, but those experienced at predicting film plots won't realize how the film is truly set to end until just before the final showdown. Lorenz also averts the usual formula for Neeson-led action films by keeping gunfire to a minimum. Both Finbar and Doireann are smart enough to know when their guns are best kept holstered, which raises tension by putting them in situations that don't allow for bloody confrontation.It's in the quiet stretches between body counts that the film shines brightest. The slowest ten minutes of the film entail Finbar starting a garden, lunching with neighbor Rita (Niamh Cusack), watching Moya fish, and buying drinks for his cop friend Vinnie (Ciaran Hinds). Only Moya's scene ties neatly into the story, but they all serve to showcase Finbar's love for the residents of Gleann Cholm Cille, a love Doireann uses to manipulate Finbar when his underestimation of her calculated villainy puts half the town in danger.Even when the plot isn't being furthered, the film never feels like it's dragging thanks to the consistently reliable performances of the cast and the gorgeous cinematography of Tom Stern (Gran Torino), which favors numerous panoramic views of the Irish coast set to a sweeping orchestral soundtrack by Great Garbo (Rascals on the Road). Incidentally, the weather itself conspires to lend the film extra beauty, particularly during one early shot in which Finbar trudges up a road while shadow from the overcast sky quickly spreads to overtake and stretch beyond him. Meanwhile, the constant presence of water on the town streets adds a sense of unease to the film, given that it never once rains on camera. It's as if Finbar is constantly in between a storm that's just passed and one that has yet to arrive.While Liam Neeson and Ciaran Hinds are among the most reliable performers in the cast, it's ultimately Kevin and Doireann that carry the bulk of the film's emotional substance on their backs. Kevin begins as an extremely unlikable character, familiar territory for Gleeson after his stint on Game of Thrones as a punchable child king. As Finbar gets to know him better, Kevin reveals a level of depth only vaguely alluded to in his first scene. Doireann, on the other hand, is a mess of feelings early on. Although calculating, she can also be quite reckless when emotional, rendering her character dangerously unpredictable. This dichotomy of character traits might come across as inconsistent if not for the brilliantly subtle energy of Condon's performance, depicting Doireann as constantly trying to hold her next outburst in check.Those looking for an easily digestible popcorn flick won't find it here. But those looking for strong character interactions in a story about the tragedy that befalls two opponents fighting for what they care about will be largely pleased. The moving score and breathtaking scenery merely add icing to the cake.