‘In The Land Of Saints And Sinners’ Review – Pedestrian And Predictable

Before watching In the Land of Saints and Sinners, I was trying to figure out what happened with Liam Neeson. He began signing off on every script across his desk. It was as if he had read inside a fortune cookie, “The Power of Saying Yes.” Neeson became a yes-man to studios, taking any asinine script they sent him. Honestly, being such a talent on the screen, his choices have been puzzling.

There’s nothing wrong with making money, and finding parts in his 70s cannot be easy. Yet, I began to ask myself if this was an elaborate and masterfully executed fraternity prank. How else can you explain Blacklight, Memory, Retribution, The Marksman, Marlowe, and The Ice Road? And yes, you heard right—that latter is getting a sequel.

In the Land of Saints and Sinners is a departure for Neeson because it’s a marked improvement. Yet, despite the setting, it’s a revenge thriller you’ve seen a hundred times before when you break down the Irish crime tale. However, this time, the excellent supporting cast elevates the script and reminds us why Neeson is a remarkable talent in the place.

You’ll wish the final product wasn’t so predictable.

The story follows Finbar Murphy (Neeson), who keeps looking back at his life, wishing he had made something of it. The man has a dark past—a local hitman roaming the Irish coastline of the sleepy town of Glencolmcille. Murphy has just given his two-week notice to his boss (Colm Meaney), a small-time hood who knows how to live freely in the shadows.

Now, if that’s the carrot, here’s the stick. Murphy begins to enjoy a quiet retirement, sipping pints with the local sheriff (Ciarán Hinds). The town is on edge, though, after an IRA bombing claimed the lives of not only the targets but also some innocents, including children. Led by terrorist Doireann McCann (a terrific Kerry Condon), Murphy becomes entangled with the group after discovering that one of them is abusing a child.

Neeson reteams with The Marksman director Robert Lorenz, who continues to struggle to find depth in action stories involving oppressed political groups. The background of the terrorist group is purely trope-laden. The viewer is never given any insight into why they set off a bomb in the middle of a quaint town.

Even if the film is a marked improvement over their last venture, this is still the same revenge tale you’ve seen thousands of times; the difference here is the accents and setting. This is the same plot as Patriot Games, except on a much smaller scale, where Condon’s Doireann is searching for Murphy to make him pay.

In the Land of Saints and Sinners is worth watching for the performances but not for the pedestrian and predictable plot. Neeson brings his famous grizzled and weathered demeanor, along with his renowned action stoicism, akin to a roaring bonfire, to the role. Condon is electric as a vengeful terrorist, complete with volcanic eruptions that had me frightened from my couch.

Yet, you need more from Neeson’s film. Do we understand what motivates Condon and her team? Hardly. Do we know anything about Murphy’s backstory? No, and that would have helped add depth. There must be more than the added texture of the culture and setting to enhance a thriller. These elements should be specific, timely, and resonate on screen.

What is clear is that In the Land of Saints and Sinners offers a unique perspective. It presents a repackaged product that is easy to produce, gives the illusion of suspense, and is cost-effective. Neeson’s film, while it may seem like the same old tale, is elevated by sterling performances. However, this is a movie strictly for tepid fans of the genre who should demand more for their money.

In the Land of Saints and Sinners is currently playing in theaters courtesy of Samuel Goldwyn Films.