The Commuter (English) Full Movies 720p Download ((LINK))
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Michael attempts to leave the train with the money, but he is stopped by a young teenager with an envelope containing his wife's wedding ring, which she tells him is a warning. Unable to reach his wife by phone, he discreetly approaches fellow commuter Walt, writing a note on his newspaper to contact the police. Michael leaves Murphy a voicemail describing the situation and receives a call from Joanna threatening him and his family. She tells him the train is rigged with hidden cameras and to look outside, where he sees Walt pushed in front of a moving bus and killed. Joanna points Michael to a GPS tracker in his jacket to plant on Prynne.
In September 2015, it was announced that Liam Neeson would star in the film.[10] In June 2016, Vera Farmiga joined, in a role described as "a mysterious woman who boards a commuter train and proposes an enticing opportunity to Neeson's character, one that has dire circumstances if he accepts."[11] The project marks the second working collaboration between Farmiga and Collet-Serra, after 2009's psychological thriller Orphan.[12] On July 13, Sam Neill, Elizabeth McGovern, and Jonathan Banks were added to the principal cast,[13] and in August 2016, Kobna Holdbrook-Smith joined in an undisclosed role.[14] The same month, Patrick Wilson joined the cast as a trusted friend of Neeson's character.[15]
Frustratingly not-quite-there from start to finish, the paranoia-soaked railroad thriller "The Commuter" is the latest installment in the unofficial "Liam Neeson Late Winter Butt Kickers" series. The LNLWBKs started in January 2009, with the surprise smash "Taken," and continued with more "Taken" movies, plus three Neeson adventures by Jaume Collet-Serra, the director of this new one ("Unknown," "Non-Stop" and "Run All Night" were the others). They're a staple of our moviegoing diet by this point, nearly as ingrained in the seasonal calendar as the holidays themselves. Like nearly every entry, this new one is worth seeing for the unfussy determination of Neeson, a couple of impressively choreographed action sequences (in particular a one-take, hand-to-hand fight that attempts to one-up the famous hammer sequence in "Oldboy"), and an intriguing premise that the filmmakers never manage to fully exploit. By "worth seeing," I don't necessarily mean "rush to the nearest theater, forsaking all else," but rather, "if this comes on TV, you'll probably watch the whole thing, as long as you're not in a hurry to be somewhere." Who knows, it might even be ideal train viewing. The plot has all the hallmarks of a daydream that got obsessively worked-over for years during somebody's daily rides to and from work.
I did care very much about Neeson's character, though, thanks mainly to his mastery "just say your lines and hit your marks" acting. No matter who he's playing in these movies, Neeson always attacks the problem at hand with the low-key focus of a guy trying to open a stuck jar of jam. It's my considered opinion that Neeson's late-career brand of business class dad machismo has yet to meet a director that can fully do it justice, but reasonable minds may differ. In any case, it's doubtful anyone will be debating the fine points of his late-career filmography when Michael is hanging underneath a moving train like Indiana Jones, or breaking the little glass box at the end of a car so that he can use the hammer on someone's skull.
In The Commuter (2018), a mysterious woman - Joanna - tasks a regular commuter - Michael - to find a train passenger "who doesn't belong here". Later we find, that she has her own man on board tasked with "taking care of" the person that Michael has to find.
The information conveyed in terms of character and plot is very conventional; there are precious few surprises to be found in the story that is being told in The Commuter. However, what is most impressive is how the movie chooses to tell this story. Subtle variations and shifts, without context or without exposition, create a sense of a family life lived between these morning commutes. It is a very efficient way of conveying necessary story information, but it is also confident and stylised. There is an attention to detail that is rarely found in movies like this.
Being a commuter is a different experience than living on campus. Some students never live off campus and others take the plunge after experiencing residential living for a while. Either way, Student Life has some things just for these students.
There's something irreducibly inspired about setting an everyone's-a-suspect suspense film on a commuter train, that 10-time-a-week crucible of familiarity and alienation. Because the harried family man at The Commuter's center is played by Neeson, you keep expecting to learn that the wife and son we meet in the first scene were in fact killed four years ago in a train derailment or a freak spin-class accident. But nope, they're fine, and moreover, they're counting on him to replenish the college fund that got wiped out in the 2007-2008 meltdown. For a star who increasingly seems to choose his roles on the advice of his financial planner, there's a little bit of frisson here.
Collet-Serra remains a competent but not distinguished machinist, now confident to pay homage to more consequential pictures more openly: The Commuter has a big lift from Spartacus, and a little lift from Spielberg's terrific 2005 War of the Worlds. It won't have the kind of afterlife those movies have had, but it's good enough for an in-flight diversion. After all, you really don't want to watch Non-Stop on a plane.
Things change dramatically and quickly in his life after he boards the commuter train, homeward bound, with the task of having to tell his wife about his job loss. A woman named Joanna (Vera Farmiga) sits down across from him, interrupts his reading and makes an interesting proposal to him. If he knew there was $25,000 hidden away in the bathroom, with the promise of $75,000 more if he could get a bag away from a certain passenger that was new to commuting on the train, would he do it?
Dr Bob Mann lives in Hampshire in the UK. Now retired from his job as an IT professional, he is owner of One Mann's Movies and an enthusiastic reviewer of movies as "Bob the Movie Man". Bob is also a regular film reviewer on BBC Radio Solent.
Michael MacCauley, an Irish-American life insurance salesman and former police officer, is a family man with a wife and teenaged son. He goes through the same routine train commute to work and back every day, taking the Hudson Line from Tarrytown to Grand Central Terminal, often interacting with the same other commuters. His daily routine is interrupted when he is abruptly laid off from his job after a decade at the same company, leading him to wonder how he will pay his mortgage or afford his son's college tuition.
A montage of shots over time of MacCauley rising in the morning, getting his wife and son squared away and headed out to work reveals the man to be an ordinary commuter, someone who has spent the last 10 years taking a train from leafy Tarrytown, N.Y., into the concrete jungle of Manhattan and then back home again.
As he has done in his previous collaborations with Neeson, Collet-Serra fills out The Commuter's supporting cast with A-list talent. In addition to Farmiga (who previously worked with Collet-Serra on Orphan) and her Conjuring movies costar Patrick Wilson, the movie further benefits from having seasoned character actors like McGovern filling out its ensemble, as well as Jonathan Banks and Sam Neill in smaller roles. Most of the film's characters - especially the train passengers played by lesser known actors - are the sort of two-dimensional stock types that one expects to find in this sort of pulpy fare. The Commuter is above all else the Liam Neeson show, and it wisely never loses sight of that throughout its runtime.
Collet-Serra is known for infusing his B-grade movies with slick production values, and that remains the case with The Commuter. The director typically makes good use of the environments in his films, be it the inescapable inside of the airplane from Non-Stop or the beautiful and isolated beach in The Shallows. He likewise uses the cramped and dingy interiors of a commuter train to positive effect here, when it comes to generating suspense and tension. Working with cinematographer Paul Cameron (Collateral, Dead Man Down), Collet-Serra stylishly maps out the internal layout of the film's central set piece and keeps things visually engaging, in spite of the unchanging foreground scenery. The downside is, The Commuter is more interested in getting to the next scene of Neeson punching someone than it is fleshing out its characters or exploring the political overtones of its narrative.
The Commuter is neither Neeson nor Collet-Serra's best thriller yet, but it's a perfectly serviceable genre movie that delivers everything audiences expect from Neeson's action films nowadays - to a fault. It's not a film that demands to be seen in a theater, and it falls well short of breaking the mold that Neeson and Collet-Serra have established for their movies together by now. At the same time, The Commuter is enjoyably ridiculous and offers enough entertainment to help beat away the doldrums of January. Here's to hoping Neeson's and Collet-Serra's "Taken On A Boat", or whatever moving vehicle their next thriller takes place on, is equally fun.
Most eyebrow raising for the 1.6 to 3.1 million who trudge into and out of Manhattan everyday will be an unforgivable incongruity in the train's otherwise largely accurate path. It makes various subway stops through Manhattan, when every commuter since the time of "Revolutionary Road" knows it runs straight to Harlem. It's the kind of inaccuracy that will cause untold swarms of strap-hangers to throw their MetroCards at the screen.
Their movies are, in part, parables for the terrorism age. Like in "Non-Stop," where Neeson played an air marshal, the protagonist of "The Commuter" must wrestle with the morality of uncovering the one threat in a sea of maybe-innocent, maybe-guilty faces, some of them "regulars" (daily riders), some of them unfamiliar. As before, Neeson is a lone warrior trying to stay decent in a fallen world. With pandering references to the big banks throughout, "The Commuter," has just enough smarts to make its final destination disappointing.
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