Nathan is a film critic and aspiring author with a true passion for the film industry & hopes his writings will help launch his careers.
I think we can all admit that Liam Neeson has been in a bit of a rut lately. While his films are always exciting and fun, ever since Taken they have gotten increasingly repetitive. But it seems that the wind has caught the sails and the ship is moving in a different direction. The Marksman has a lot of heart, a great story, and mixes some strong drama with just enough classic Liam to keep things familiar but not overly so. In fact, I'd even go so far as it's nearly a perfect film.
The Marksman follows former Marine Jim who spends his retired days tending to his ranch and informing Border Patrol any time he spots illegals crossing into the country. Things take a turn one day when Rosa and Miguel, a mother and son, cross over to escape the cartel. When Rosa is killed, she entrusts Miguel to Tom's care, begging him to take Miguel to his family in Chicago. The cartel won't give up easily, however, and the chase begins.
The thing that made The Marksman so good was the heart emulating from the screen. Definitely one of the better Liam Neeson films in recent years, the film gave Jim and Miguel a dynamic similar to Logan or A Perfect World. At first, Jim's only doing a job but that in turn evolves into a bond in which Miguel needs Jim as much as Jim needs Miguel. It's a beautiful evolution to see and I felt it was paced perfectly.
In fact, the only issue I had with the film was that it didn't dig deeper into backstory when it really should have. For instance, Rosa had to run from the cartel because of something her brother Carlos did. But what did he do? Rosa had a bag full of money that Miguel said was the cartel's money. So did Carlos steal it? Is that what we're meant to assume? There's a lot of questions that really should have been answered.
In conclusion, The Marksman is worth seeing and hopefully is a sign that Liam Neeson will return to his drama roots. I give the film a 3 out of 4.;
© 2021 Nathan Jasper