Critic Reviews



Based on 44 critic reviews provided by Metacritic.com
If Collet-Serra put Neeson on a merry-go-round and added some danger, I’d gladly show up.
It's a certified B-movie without superheroes or interplanetary travel, drawing its power from a whodunit, race-against-the-clock scenario that plays as if The Lady Vanishes and Strangers on a Train were chopped up and tossed into the blender along with a slab of CGI and a full bottle of Dexedrine.
Collet-Serra’s fourth team-up with Neeson, The Commuter, represents neither man’s finest work, but at its best, it suggests the snap and fun they’ve brought us before.
An action picture whose aging hero we care about and root for, a thriller with tension and style, a B-movie Hitchcock would have been happy to call his own.
The Commuter’s breakneck incoherence — not to mention a generally dour demeanor, shorter on incidental humor than most of the helmer’s work — makes it a notch less fun than those previous ex-trash-aganzas.
Perhaps you can’t ask too much from a modest, mid-range crowd-pleaser like this, but the experience ends up something like a commuter service itself: you know where it’s going and it gets you there perfectly well, but in a few years’ time you’d be hard pressed to distinguish it from dozens of similar journeys.
As it speeds along, the film delivers its share of popcorn-style entertainment, curves and thrills. But it stalls due to plot holes and murky storytelling, willful inaccuracies (like an invented Upper East side train station), wasted talent and conductor’s cap tips to better railway-based movies like “Strangers on a Train,” “The Fugitive” and “Unstoppable.”
This may be a forgettable movie about the forgotten man — a blue-collar morality play disguised as a very contrived hostage crisis — but at least it’s shlock with something on its mind.
What The Commuter lacks in nuance, depth, surprises, logic and serviceable dialogue...it can’t make up for in its effective single-location tension or well-choreographed action, though both rank among the film’s modest highlights.
It’s a zingy set-up but just as quickly, it hits the skids.

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