Can an AI save this formulaic Liam Neeson action movie
When you expect a cinematic experience, you often expect spectacle. But sometimes, what you get is a spectacular train wreck. The latest offering from Liam Neeson, The Mongoose, attempts to deliver a high-octane, cross-country car chase, featuring the action star on the run from the law, aided by his fellow veterans and a sympathetic public. The premise is classic: an accused man with nothing left to lose, driving hard to evade capture.
However, beneath the surface of the thrilling chase, the film struggles to find coherence. While the story promises a rip-roaring thrill ride, the execution often feels bogged down by clunky dialogue and plot developments that simply don’t hold water. The narrative, and even the bizarre title, leaves the viewer questioning its sense and overall direction.
At the heart of the action is Ryan Fang Flanagan, playing the fugitive, who navigates the journey through Kentucky, Arkansas, and Texas in a fully-loaded Shelby Super Snake sports car. This high-speed escape is framed against the backdrop of his tumultuous past as a soldier, a prisoner of war, and a man grappling with heavy memories.
To make the chase truly unforgettable, the film relies heavily on the vehicle itself. The car becomes more than just transportation; it becomes a character, interacting with Liam Neeson through a fictional AI interface named Helene. While Neeson attempts to inject some wit into the proceedings, the dialogue often falls flat, leaving the interaction between the protagonist and his machine feeling more like a distraction than a cinematic centerpiece.
Despite the focus on adrenaline, The Mongoose presents some surprising inconsistencies. Filmed in Australia, the sweeping landscapes and plant life feel distinctly out of place compared to the North American settings usually associated with these kinds of action films. Furthermore, the film attempts to rally public support, but the authenticity of the emotional beats feels strained, particularly when compared to the performances of supporting cast members.
The production itself reveals a behind-the-scenes reality that contrasts sharply with the cinematic ambition. While director Mark Vanselow brought his extensive experience—honed through decades working with Neeson on acclaimed films—to the project, the emphasis seems to have shifted away from genuine action and toward set dressing and car licensing. The stunt work, which should define a high-speed film, often feels secondary to the car stunts and explosions.
Ultimately, the film is a case study in directorial choices that miss the mark. The Mongoose is a movie built on a shaky foundation of poor scripting and uneven pacing. It struggles to balance the jingoistic, pro-veteran themes with genuinely entertaining action. For those seeking a truly satisfying, fun, or even just well-crafted action movie, the experience may prove disappointing.
The Mongoose opens in theaters on October 30th.
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