The opening may have you wondering if you’ve walked into the wrong theater as it presents the same household morning scenario again and again with minimal variation: is this some kind of arty drama about the perils of middle-class existence? Nah, it’s just director Jaume Collet-Serra playing around with a pretext of context before he puts Liam Neeson through his violent paces for a fourth time, swapping out Non-Stop’s plane for a commuter train and tossing in some financial anxiety for motivation. It’s fun for a while, as Neeson’s ex-cop starts to shake off 10 years of insurance work and get back to his real self: observant, resourceful, and inhumanly tough. (Go ahead, knock him silly as many times as you like. He’ll be right as rain in two ticks.) The mystery is less a whodunit than a whogotit, the “it” being a bag containing something stolen that the owner is desperate to recover. If you don’t think too hard about why Neeson gets brought in or how the baddies operate or what the point is, you may be able to enjoy yourself. At least until the final act, when the film goes off the rails. Like a train might do. (2018) — Matthew Lickona
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