Directed By Hans Petter Moland
Starring – Liam Neeson, Emmy Rossum, Laura Dern
The Plot – Quiet family man and hard-working snowplow driver Nels Coxman (Neeson) is the lifeblood of a glitzy resort town in the Rocky Mountains because he is the one who keeps the winter roads clear. He and his wife (Dern) live in a comfortable cabin away from the tourists. The town has just awarded him “Citizen of the Year.” But Nels has to leave his quiet mountain life when his son is murdered by a powerful drug lord. As a man who has nothing to lose he is stoked by a drive for vengeance. This unlikely hero uses his hunting skills and transforms from an ordinary man into a skilled killer as he sets out to dismantle the cartel. Nels’ actions ignite a turf war between a manically unpredictable gangster known as Viking and a rival gang boss. Justice is served in one final spectacular confrontation that will leave no one unscathed.
Rated R for strong violence, drug material, and some adult language including sexual references
– The harsh elements of the setting. Not since 2017’s “Wind River” has a film established the ingrediants of an environment so fruitfully that easily transcends that of the screen that we the audience are watching it on. Thanks to the immersive shot selection, as well as the various imagery throughout the picture, I found myself feeling the sting of the frost-bitten cold, combined with the isolation and confinement of the overwhelming snow that surrounds our cast of characters. Visually, it outlines a hell-frozen-over kind of vibe to replicate the actions of what is going on in the story, and it frequently gave me chills the longer we are engaged in it.
– Fresh takes on performances all around. I know what you’re thinking: this is the typical Liam Neeson role, in which he saves the day after something horrible is done to a member of his family, but that’s merely a rough take and not the entire picture of his performance. What is so different about Nels as opposed to the other characters that Neeson has portrayed is his sense of vulnerability and the consequences catching up to him with thinking on the fly. Outside of maybe his role in “The Grey”, this feels like the most relatable character of his action movie filmography, balancing enough heart and menace to the role that never forgets this man’s pain through the many dirty deeds he unloads. Aside from Neeson, I also enjoyed the work of Emmy Rossum as an upstart police detective whose soul motivation is to save the town from rival drug gangs, as well as Tom Bateman as the film’s central antagonist, who may or may not be directly out of a superhero movie for his unorthodox movements and over-eccentric personality that constantly keeps things interesting.
– A surprising direction of tone. “Cold Pursuit’s” strongest quality is in its dark and twisted sense of humor, which gives the elements at play a very ironic sense of circumstance behind them. I certainly didn’t expect myself to laugh with a plot like this one, but the film is constantly tugging at the patience of audience in the most devilishly delicious manner, showing it’s not afraid to get silly with a premise as outlandish as this one. One such example involves an incredibly slow and noisy morgue lift that would otherwise be edited for time in a typical movie, but here is played in real time to translate the awkwardness of the situation in the air. Beyond this, the deaths themselves are given a lot of free-range creativity to play around with, satisfying the crave of carnage candy in anyone who values intense revenge in circles like these.
– The immense responsibility cast upon cinematographer Philip Ogaard. Philip himself has done a lot of Danish film projects, including the original film that this movie is based on, and you can see that country of influence translate superbly to the way the film looks and feels. The color pallets have a very absorbing quality to them, in that they soak up the color scheme inside of each and every room, but beyond that they do wonders in depicting the elegance associated with these wealthy families of Denver, giving scenes of chewable scenery for us the audience to sample these extraordinary set designs. There’s also respect to be given for how Denver is presented from the wide lens angle, presenting it as sort of an isolated snowpacalypse that has paused the everyday operations of such a city.
– Unorthodox focus in where it spends its time. It’s interesting that the screenplay spends a majority of its time getting to know our antagonists, but the benefits as a result of such are rewarding in more ways than one. For my money, this creative direction gives the film a more cerebral sense, in that we are seeing the cause and effects of each and every move by each respective side, as well as it taking its time in forcing the audience to understand each calculation along the way. Beyond even this however, it gives light to these horrible people being just that: PEOPLE, and not some hokey, cliche-ridden bad guy who we ourselves can’t relate to in the slightest. It’s a big chance that pays off handsomely in giving us a who for the why, and I wish more films would take this as a much-needed gift to better flesh out the motivations of characters inside of their stories.
– Creativity in visual text. Each time a character dies, and believe me when I say there are many times of it, the film cuts to a black backdrop white text visual that gives the name of the deceased, their nickname, and an icon symbol to match each. It gives each bout of revenge a compartmentalized and almost chapter-esque feel inside of the bigger picture, and only further plays into the personality that the screenplay instills. If a character is seconds away from facing what we realize is an inevitable death, the quick cut to black visually communicates and confirms what we already knew was coming, and no matter how many times this gimmick is used, I never lost my smile because of it.
– Impactful ending. A problem plaguing many films these days is the director not knowing where to end it to leave audiences with the biggest gut-punch right before the credits, and thankfully “Cold Pursuit” never has this problem. Aside from there being some twists with its resolution that I didn’t see coming, there is one last surprise in the final shot of the movie that made me laugh, wince, and only confirmed the awesome time I had with this movie through nearly two hours. It’s one last stinger that reminds audiences of the cold and unforgiving nature of such a place, and does so in a way that the previous scenes thrived at: ironic inevitability.
– Obvious plot device introduced midway through. There’s a character who pops up midway through the film who has very little ties to either side, and whose progression and conclusion only appear because the movie needed him to. I won’t give away anything, but without this person, the antagonist would never know the name of the person coming after him, nor would there ever be any form of war between the two sides, since Nels knows his enemy and not vice versa. This character only appears for about ten minutes during the film, and because of such we know that the intention was to draw these two sides together in the most obviously sloppy kind of manner.
– Important character disappearance. One strange directing decision along the way involves Laura Dern’s character vanishing from the screen and never re-appearing or further elaborating on the relationship between her and Neeson. The reason for this to me feels like too many cooks in the kitchen in terms of characters introduced to the on-going narrative, but the mother to the deceased boy is such a pivotal and redeeming quality to a conflict like this, and only further wastes the time and talents of arguably the most talented worker in the entire cast.
– Moland’s broken promise. I am one of few American critics to have seen “In Order of Disappearance”, and director Moland has gone on record as saying he would only remake his previous film if it were completely different from his original film, and that just isn’t the case here. With the exception of different actors, and one minimally unimportant subplot, the only difference is Nels last name, with it in the original being Dickman, and in this one being Coxman. Yes, that is indeed a dick joke. My point however, is that this film is sadly an almost shot-for-shot remake that will do little for people who have seen the original chapter, and only further convolutes the definition of the term “Remake”.
My Grade: 7/10 or B