The “Liam Neeson movie,” for better or worse, has essentially become an action sub-genre in its own right. His roles in Taken, Clash of the Titans and Unknown have already established him as an action star, but with director Joe Carnahan’s (of Smokin’ Aces fame) The Grey, he has cemented himself as such.
His latest over-the-top action thriller, The Grey, finds the Oscar-nominated Irish actor fighting against the frigid Alaskan elements and the ravenous wolves that inhabit them. The film’s constrained character development is its biggest turn-off, with clichéd memories and images of loved ones comprising much of the film’s emotional content (outside of the oil crew’s dire situation). The most interesting character in the film is the stark, snow-covered environment comprised of hues of black, white and the blood of those unfortunate enough to be eviscerated by the wolves.
The director’s camera movement throughout the film is hit or miss. Most of the action scenes blur the line between riveting and perplexing, but Carnahan also exploits the hand-held aesthetic to greater effect in the more personal, contemplative scenes, where the character’s expressions and movements reveal their inner anguish.
By the end of the film, Neeson proves that he could put what would normally be a mediocre nature survival movie on his back and transform it to an engaging, albeit shallow entertainment experience that will leave the viewer satisfied but without much else.
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