Back Rowe Reviews
Real Time Movie Reviews from the Back Row of a Theater

A Walk Among the Tombstones (R)

Directed by: Scott Frank
Starring: Liam Neeson
September 2014

This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!

A Walk Among the Tombstones
Not quite, since this movie is significantly darker than the Taken films and since it involves absolutely no abductions.

Two shots before a shootout.
Drinking and driving is bad enough, but shooting while sauced seldom ends well.

Neeson turns down a job and gets his eight year chip.
A win/win. However, if things ended right here, we’d have a pretty short movie.

An elaborate back story for Neeson’s new case. I smell a setup.
The man who hires Neeson is played by Dan Stevens from Downton Abbey. Another DA star, Michelle Dockery, appeared with Neeson earlier this year in Non-Stop.

Neeson takes the titular walk. Meets the creepy groundskeeper.
Played by Olafur Darri Olafsson (of course it wasn’t fun to type). He looks like the destitute, mentally challenged child of Kevin Page, Bum from Dallas (2012).

Neeson tails a POI and is tailed.

No East Village Plumbing. No surprise.

The punch through the glass is awesome.
One of the coolest scenes in the movie.

The 12 steps narrated over the firefight makes for a unique sequence.
There’s definitely some art here, especially the sobering voice over and freeze frame techniques.

Final analysis: a deliberately paced thriller with an understated but effective turn by Neeson.

2 1/2 out of 4. A tale of redemption that’s worthwhile if only for Neeson’s performance.

The most compelling screen heroes have always been the ones beset by some kind of mental or physical flaw…the more severe or debilitating the flaw is, the greater the exultation is at the end of the movie when the protagonist overcomes his limitations, defeats the villain and saves the day. Here, Liam Neeson’s former cop/present private detective is a recovering alcoholic—his problem affected his on-the-job performance which led to his swift departure from the force. The pivotal incident in Neeson’s past serves as opening prologue and intermittent back story, delivered in a series of stylized flashbacks, and is the movie’s spine, or, more appropriately, its heart. Unfortunately, the rest of the movie is standard B-grade thriller fare. The case Neeson accepts is similar (though, admittedly, more graphic) to the plethora of conventional crime plots featured on the ubiquitous network TV procedurals. Other than the movie’s star, the rest of the performers, though well-suited to their roles in most cases, fail to exhibit big screen chops. This should come as no surprise since many of the supporting players here have spent a significant portion of their careers making a name for themselves on the small screen: Dan Stevens (Downton Abbey) and David Harbour (Manhattan) to name just a couple. One aspect of the film that works particularly well is the soiled and seedy NYC locations that serve as immersive backdrop and locus of action throughout the film…the foreboding cemetery, panoramic rooftop, well-appointed or ramshackle residences and even the sparsely populated municipal library are all used to great effect in making this modestly budgeted film seem a bit more prestigious. Credit director Scott Frank with adding visual variety and visceral verve to the handful of action sequences, particularly the poetic, climactic shootout (see above). All things considered, Tombstones isn’t a stellar thriller, but it’s unique in its own right and has much to recommend it. At the very least, this film should tide us over until Tak3n.