Liam Neeson, hunting down dastardly criminals, is something
of a pull at the box-office. From Taken to
Non-Stop, Neeson seems to perfectly
portray the hero who can save the day. A
Walk among the Tombstones seems to seek the pace, and urgency of Taken, but tries to balance it out with
a Girl with the Dragon Tattoo-like
investigation. A Walk among the
Tombstones is a modern example of a star-led drama that, without the star,
falls into B-Movie throwaway film fare.
Apart from a 1991-set brief opening, the bulk of the film is
set during 1999. Multiple nods to the Y2K virus hint at an end-of-days fear,
but this is neither effective nor intertwined with the plot (except the “People
are afraid of the wrong things” tag line). The main thrust of the story is the
hunting of two serial killers, who expertly target the wives and children of
drug-dealers. Matthew Scudder (Liam Neeson), member of alcoholics-anonymous and
ex-Police Officer, is sought out to find the culprits of the heinous crimes.
Reluctant at first, Scudder is drawn to solving the crimes to atone for his own
sins. Due to his lack of computer-skills at the library, he befriends a
homeless boy, TJ (Brian “Astro” Bradley) who is street smart and thinks fast,
and together they piece together the murders – and work out who might be next…
It is simple thriller-by-numbers. The serial-killers, who
ride around slowly in a van, are villains in every way. No nuanced
characteristics or well-constructed motives, they’re just evil. Not only do
they attack and torture women, but they have a strange fetish whereby they cut
off breasts using wire. Scudder, alternatively, is the good guy. The tortured
soul who seeks forgiveness (not for the shooting of three burglars without
trial it seems, but something “worse”) and spends his days attending AA
meetings and eating in greasy-spoons. The opening nods to Dirty Harry, and the pervert-accomplice Jonas (Ólafur Darri
Ólafsson), even looks like a tubbier version of the crazed-hippy in Don
Siegel’s classic. Eastwood’s iconic role was known for his shoot-first,
ask-questions-later form of police work. A
Walk among the Tombstones teased the controversial idea that this brutality
holds emotional and psychological consequences. Instead, it seems that Matt
Scudder is Harry Callahan without the panache.
Unfortunately, reconfiguring and reflecting on the film only
highlights further flaws. First and foremost, women are merely victims in the
film (failing the known Bechdel test I assume). The opening credits depict
glowing white skin of a sexy blonde woman, only to reveal that she is bound by
gaffer tape and is in fact a victim to the serial killers. Jonas, the
accomplice who, though helpful and a chatty, is also a peeping tom. He is
depicted sympathetically and is almost played as a victim of the serial killers
himself. Considering his direct connection and assistance in her kidnap, he
gets off lightly in how he is treated. TJ, the wonder-kid who should surely be
more vital, gets short shrift and could be removed completely from the film with
little change to the story itself.
A Walk among the
Tombstones, borders on offensive. Its approach to crime and justice is
fatally flawed and Matt Scudder, a complicated character, is reduced to simple
clichés. It’s worth noting that Matt Scudder features in 18 novels, whereby he
attends his first alcoholic anonymous meeting in the fifth entry to the series.
Whether his tales could be told better as a television series, or if director
Scott Frank simply crammed too much into one film, this current incarnation is
a misfire. Surely Scudder deserved better.
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