Category Archives: Liam Neeson

"Weird Al" Yankovic, 2025 Films, Akiva Schaffer, Busta Rhymes, CCH Pounder, Comedy, Danny Huston, Dave Bautista, Kevin Durand, Liam Neeson, Pamela Anderson, Paul Walter Hauser, Priscilla Presley

The Naked Gun-2025

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The Naked Gun-2025

Director Akiva Schaffer

Starring Liam Neeson, Pamela Anderson

Scott’s Review #1,501

Reviewed November 20, 2025

Grade: B-

With different levels of cinema for audiences to choose from, The Naked Gun (2025), a reboot of a long-dormant franchise, is meant for a particular spoof comedy fan who expects goofiness over a heavy subject matter.

It’s not The Godfather (1972), 2001: A Space Odyssey (1968), or Vertigo (1958), and pondering a more profound meaning or luxuriating in great visual art will not happen.

Instead, for some tepid chuckles and escapist fare from a rough day at work or a family matter one is hoping to run away from, director Akiva Schaffer crafts a smirky one-liner riddled experience in lunacy.

The fourth in The Naked Gun franchise, and the first in over 30 years, the plot follows the son (Liam Neeson) of Lt. Frank Drebin, also named Frank Drebin, as he steps into his father’s footsteps to prevent the closure of Police Squad.

Fans know that Leslie Nielsen played bumbling Frank senior in the first three installments, while George Kennedy played his sidekick, Captain Ed Hocken. Priscilla Presley played love interest Jane Spencer.

Essentially, Nielsen is replaced by Neeson, Kennedy by Paul Walter Heiser, and Jane by Pamela Anderson.

Preseley does quickly appear in a cameo (if you could even call it that), sitting on a sofa watching television.

While it is familiar territory to someone like me, who has seen only one other in the series and barely remembers it, the pattern is very one-note and more of a retro greatest hits compilation than anything new and noteworthy. 

If we’re talking the 1980s, think Police Academy for a similar reference, and there is little reason I see to dust the franchise off the shelf.

We meet the new Lieutenant Frank Drebin Jr. of the LAPD Police Squad, who single-handedly dispatches a gang of bank robbers while disguised as a schoolgirl.

The fact that he morphs from a 3-foot-tall girl into a 6-foot-tall grown man is expected to be plausible.

Unbeknownst to Drebin, the bank heist is a distraction to steal a gadget called the “P.L.O.T. (“Primordial Law Of Toughness”) Device” from a safe deposit box by the film’s villain Richard Cane (Danny Huston), who is intent on reverting the human race to primal animals who kill each other.

This is to make sure that the world’s billionaires are safe to rule the planet.

The audience is not expected to wonder who will be left to serve the billionaires, or otherwise do the world’s grunt work.

The fewer plot points asked, the better.

Predictably, hard-edged Police Chief Davis (CCH Pounder) reassigns Frank when his over-the-top law enforcement becomes a legal liability.

From there, we watch Drebin eat bad food, have diarrhea, and suffer further embarrassments while working alongside Beth Davenport (Anderson), a crime novelist, to figure out why her brother died in a car accident deemed a suicide.

It’s hard to believe Neeson is the same actor who received an Oscar nomination for playing Oskar Schindler in the 1993 masterpiece Schindler’s List.

Still, shifting to an action star in 2008 proves that some actors accept projects to stay relevant.

While the plot is inane and easy to dissect with over-the-top plot points, overacting, and silly potty jokes, it can almost be overlooked for simple moments that bring a sliver of joy.

The chemistry between Neeson and Anderson is not bad, mainly because the actors know how to create it. As they banter and deliver monotone dialogue, the woodenness actually becomes an asset.

The scenes that made me smile were solely between the duo as they embraced the lines served to them to the best of their ability. Creating enough comic wit to remain entertaining, I clamored for more between the two and less of the ridiculousness of everything else.

Neeson and Anderson are the saving grace in an otherwise shit show.

The Naked Gun (2025) knows what kind of film it is, which helps level-set expectations. There is something refreshingly silly about anticipating a bad movie and having fun with it nonetheless.

#179 Favorite Film, 1993 Films, Ben Kingsley, Best Picture Oscar Winners, Biography, Drama, Epic, Liam Neeson, Ralph Fiennes, Steven Spielberg, Top 250 Films, War

Schindler’s List-1993

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Schindler’s List-1993

Director Steven Spielberg

Starring Liam Neeson, Ben Kingsley, Ralph Fiennes

Top 250 Films #179

Scott’s Review #775

Reviewed June 19, 2018

Grade: A

Schindler’s List (1993) is a film that is arguably Steven Spielberg’s finest directorial work and Liam Neeson’s finest acting performance.

The film is as disturbing as it is awe-inspiring as many emotions will undoubtedly envelop any viewer- most of them dark and dire.

Spielberg’s most personal story centers on the devastating Holocaust of World War II that will grip and tear audiences to pieces.

The work deservedly secured the Oscar award for Best Picture and Best Director as well as numerous other accolades.

Oskar Schindler (Neeson) is a powerful German businessman who arrives in Krakow, Poland during the antics of World War II, presumably to make his fortune. Handsome and respected, he is charismatic and feared by the German army, who have forced most of the Polish Jews into the overcrowded ghettos where they await their fates.

Schindler himself is a Nazi, but becomes more humanistic than most and ultimately against the Holocaust killings. He establishes a factory and hires a Jewish accountant (Ben Kingsley) to assist.

As he is tremendously affected by the inhumanity he sees throughout the city, he makes arrangements to hire and thus save the lives of over a thousand Polish refugees.

He does so by allowing them to safely work and be productive in his factory. The story is reportedly true and was a rare instance of humanity in a cold and ugly chapter in world history.

To be clear, Schindler does not start as a hero and is admittedly rather an unlikely one. The man is a businessman, greedy, and undoubtedly flawed. He plans to use the Jews because they are cheap labor and can be used to his advantage.

Because of the very long running time of the film (over three hours), Spielberg slowly depicts Schindler’s complex character growth and eventual determination to save these poor people from the Auschwitz gas chambers.

Spielberg shoots Schindler’s List entirely in black and white with tremendous results. The camera work adds such ambiance and style to the 1990s film- so much so that throughout the film I felt as if I were watching a documentary from the 1940s.

The film is epic and choreographed with precision and timeliness- some of the best camera work in cinema history as far as successfully creating the perfect solemn and dreary mood.

Supporting turns by Ben Kingsley and Ralph Fiennes must be noted. In vastly different types of roles, both shine.

As the understandably nervous, Jewish accountant for Schindler’s factory, Itzhak Stern is most notable for creating the famous “list”. This contains the names of those who would be transferred to the factory and thus have their lives spared.

Kingsley, a brilliant actor, fills the character with empathy and heart.

Conversely, Fiennes plays a dastardly character in that of Amon Goth, a commander at the concentration camp. Evil and known for taking glee from killings, he is the man instrumental in deciding to exterminate all of the people in the ghetto.

A pivotal character, Goth is important because he is the man who makes Schindler realize how sickening and inhumane the treatment is.

Fiennes carves the character with so much hate that he is believable in the part.

One of the most beautiful scenes is aptly named “the girl in red” and is highly symbolic and worthy of analysis. Oskar watches as prisoners are escorted, presumably to their executions. He notices a three-year-old girl walking by herself- she is clad in a bright red coat.

The coat is Spielberg’s only use of color throughout the entire film.

The scene is incredibly important as the girl stands out, proving that all the Nazi commanders are accepting of her death. In tragic form, Oskar later sees her dead body draped in her red coat.

The scene is sad and powerfully distressing.

Schindler’s List (1993) is an outstanding film that elicits such raw emotion from anyone who views the masterpiece. By no means an easy watch and most assuredly “a heavy”, the film depicts the true struggles and catastrophic events occurring not all too long ago.

A film for the ages that simply must be seen by all to appreciate the terror and inhumanity that occurs throughout the world.

Oscar Nominations: 7 wins-Best Picture (won), Best Director-Steven Spielberg (won), Best Actor-Liam Neeson, Best Supporting Actor-Ralph Fiennes, Best Adapted Screenplay (won), Best Original Score (won), Best Sound, Best Art Direction (won), Best Makeup, Best Costume Design, Best Cinematography (won), Best Film Editing (won)

2003 Films, Alan Rickman, Andrew Lincoln, Bill Nighy, Billy Bob Thornton, British, Chiwetel Ejiofor, Christmas, Claudia Schiffer, Colin Firth, Comedy, Denise Richards, Emma Thompson, Gregor Fisher, Heike Makatsch, Hugh Grant, January Jones, Joanna Page, Keira Knightley, Kris Marshall, Laura Linney, Liam Neeson, Lúcia Moniz, Martin Freeman, Martine McCutcheon, Richard Curtis, Rodrigo Santoro, Romantic Comedy

Love Actually-2003

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Love Actually-2003

Director Richard Curtis

Starring Hugh Grant, Emma Thompson, Liam Neeson

Scott’s Review #1,438

Reviewed September 8, 2024

Grade: B

Love Actually (2003) is a British romantic comedy perfect for watching around the holidays, especially on Christmas Eve. Perhaps even on Valentine’s Day, the setting is tinsel-laden and filled with holiday merriment and sweetness.

It involves an ensemble cast of dozens but surprisingly not hard to follow. The myriad of stories had me naturally more invested in some than others, preferring the heavy drama to the silly side plots.

The film begins beautifully as a voice-over narrator sets the stage and message of love. He ruminates about pure and uncomplicated love of lovers, and friends, and points out that the messages from the 9/11 victims were messages of love and not hate.

The story then switches among the interconnecting “love stories” of many people.

The quick segment nearly left me in tears and to let the poignant message sink in.

I was pleasantly surprised to find nine stories some of which intersect with others. I am a fan of this type of storytelling but not all of them connect with others which might have made it too confusing or even better layered.

Some stories are not given a lot of exposure but the balance feels close to right.

I preferred the first half of Love Actually to the second. I had heard of the film and finally watched it twenty years later but anticipated more of a sappy romantic comedy than anything of substance, especially since the rom-com master Hugh Grant stars.

I immediately felt an emotional connection to stories like the United Kingdom Prime Minister (Grant) and his romantic connection with Natalie (Martine McCutcheon), a junior member of his household staff. This ‘boy meets a girl from the wrong side of tracks’ felt authentic and laden with possibilities.

Another win is the love story between Sarah (Laura Linney) and handsome creative director, Karl (Rodrigo Santoro). Their buildup and near tryst after a Christmas party had me in their corner, and rooting for the pair to overcome an obstacle involving Sarah’s dependent brother.

Finally, my favorite couple is writer Jamie (Colin Firth) and his Portuguese housekeeper, Aurélia (Lúcia Moniz). Their sweetness and innocence are gleeful and true and rooting for them to get together despite language barriers was easy. 

Richard Curtis, who directs and writes the screenplay, misses an opportunity when he creates an unfulfilling love triangle between newlyweds Juliet (Keira Knightley), Peter (Chiwetel Ejiofor), and best man Mike (Andrew Lincoln). Initially unclear if Mike is smitten with Juliet or Peter the traditional route is chosen instead of an LGBTQ+ presence.  

In one story, the horny British lad named Colin (Kris Marchall) unsuccessfully tries to woo British women and decides to go to America to get laid. Predictably, he meets one hot woman after another in the mid-west USA.

This story is hokey and could have been dropped altogether in favor of more screen time for the more interesting stories.

In the final act, I was disappointed when the film teeters too much towards cheesy with a tepid Christmas pageant where many stories come to a head.

This culminates with a silly chase throughout Heathrow Airport where one character jumps security and outwits inattentive airport personnel to catch his love interest before she leaves on a flight to New York.

Since 9/11 is mentioned in the beginning this tired plot device is surprising given the times of heightened terrorism and deserved respect for airport security.

Curtis rips off Paul Thomas Anderson’s Boogie Nights (1997) in the epilogue by using the same song, ‘God Only Knows’ by the Beach Boys, and the same wrap-up of what happens to the characters.

Despite the thievery, I did enjoy seeing what happens in my favorite stories.

Love Actually (2003) wobbles a bit by trying to have all nine stories pack a punch but the effort is nice and the message of love closes out the film.

We know happiness and Christmas miracles usually don’t pan out but it’s nice to escape and pretend they do.

2002 Films, Alec McCowen, Brendan Gleeson, Cameron Diaz, Crime Drama, Daniel Day-Lewis, David Hemmings, Drama, Epic, Jim Broadbent, John C. Reilly, Kenneth Lonergan, Leonardo DiCaprio, Liam Neeson, Martin Scorsese, Stephen Graham

Gangs of New York-2002

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Gangs of New York-2002

Director Martin Scorsese

Starring Leonardo Dicaprio, Daniel Day-Lewis, Cameron Diaz

Scott’s Review #1,327

Reviewed December 26, 2022

Grade: A-

Gangs of New York (2002) is an extremely violent and bloody epic by director Martin Scorsese that is an exquisite piece of filmmaking nearly flawless in every way except maybe its length and story.

On the one hand, it’s a beautifully choreographed and filmed crime drama with perfect costumes, art direction, and cinematography. Still, on the other, it’s tedious and lengthy, especially during the final hour, with choppy storytelling and seemingly one long continuous battle.

Scorsese being Scorsese and knowing his way around crafting an excellent film or two left me ruminating over the cinema and pondering whether I’d ever need to see it again.

Usually, I’m all in when it comes to repeated viewings of his films,  especially Raging Bull (1980) or Goodfellas (1990) but with Gangs of New York, the sobering almost three hours running time and the non-stop bloodshed gives me pause.

It’s not a mafia film but it is an Irish-centered crime drama harkening back to the mid-1800s so there are historical lessons to be exposed to. Familiar with most of his films there are good guys, bad guys, and a criminal, feuding overtone, and lots of grit and grime to plow through.

I can’t say it’s one of Scorsese’s top 10 but it’s a grandiose, epic-length behemoth that features a host of top-name talent but there are nonetheless aspects that leave it slightly beneath his most famous works.

But that’s nearly akin to comparing the works of Beethoven, Rembrandt, or other geniuses of one art form or another. Anyone respecting Scorsese or appreciating good cinema should see Gangs of New York.

Amsterdam Vallon (Leonardo DiCaprio) is a young Irish immigrant released from prison. He returns to the Five Points seeking revenge against his father’s killer, William Cutting (Daniel Day-Lewis) also known as ‘The Butcher’, a brutal and powerful anti-immigrant gang leader.

He knows that revenge can only be attained by infiltrating Cutting’s inner circle. Amsterdam’s journey became a fight for personal survival and to find a place for the Irish people in 1860’s New York.

The most delicious part of the film is the rivalry between Amsterdam and ‘The Butcher’. DiCaprio and Day-Lewis make powerful sparring partners and as much as Amsterdam’s motivations are admirable it’s Day-Lewis who has the more interesting character.

To no one’s surprise, the actor channels his inner dictator as he method acts throughout the film. To no one’s additional surprise, he steals the show away from other tremendous actors like DiCaprio, Jim Broadbent, and John C. Reilly in supporting roles.

However, I need to ask why Day-Lewis was selected for the Lead Actor Oscar category when he is a supporting one.

Worthy of mention is Cameron Diaz who, for once, plays the dramatic role of a pickpocket. Typically cast in comedic roles she shows she has acting chops.

The story gets a bit wayward about halfway through and I stopped giving the story much credence about three-quarters of the way through. It’s as if Scorsese had frenetic schizophrenia moments with tons of good ideas but none of them formulating a cohesive plot.

The New York City setting is a favorite of mine especially pre-civil war and well before the NYC of modern times even existed. The prevalence of Canal Street and various others make this northeasterner heavily invested in geography.

Finally, to bring it all full circle, Gangs of New York powerfully reminds the audience of the age-old topic of immigration and how those who have citizenship too often oppose those who desire to enter a country they once also did.

‘The Butcher’s’ brutal opposition is a sad reminder of how the United States of America was never united and the senseless violence towards immigrants is never-ending.

Gangs of New York (2002) may not be Scorsese’s best work but even on his worst day, he creates a film worth watching. Mixing toxic masculinity, and revenge with a crazy story he succeeds where other directors might fail by providing compelling filmmaking with all the fixings.

Just don’t get too hung up on the story points.

Oscar Nominations: Best Picture, Best Director-Martin Scorsese, Best Actor-Daniel Day-Lewis, Best Original Screenplay, Best Art Direction, Best Cinematography, Best Costume Design, Best Film Editing, Best Original Song-“The Hands That Built America”, Best Sound

1981 Films, Adventure, Ciarán Hinds, Fantasy, Gabriel Byrne, Helen Mirren, John Boorman, Liam Neeson, Patrick Stewart

Excalibur-1981

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Excalibur-1981

Director John Boorman

Starring Nigel Terry, Nicholas Clay, Helen Mirren

Scott’s Review #1,108

Reviewed February 4, 2021

Grade: B+

John Boorman, most famous for directing a 1972 disturbing classic film Deliverance returns to the fold with steamy fantasy rich with lavish sets, visual treats, and an incredible atmosphere.

This is where the film succeeds.

We are taken to a medieval world where we embrace jealousy, sex, and schemes.

Boorman not only directs but produces and co-writes the project along with the screenwriter Rospo Pallenberg.

Excalibur (1981) retells the legend of King Arthur, a British leader from the fifth and sixth centuries mostly told by folklore, and the Knights of the Round Table, based on the 15th-century Arthurian romance Le Morte d’Arthur, at behemoth length, by Thomas Malory.

The table is symbolic because it implies that there is no head and therefore a democratic forum.

This telling is quite adult and not suitable or comprehensible for children.

Famous legends like Merlin (Nicol Williamson), Lancelot (Nicholas Clay), Queen Guenevere (Cherie Lunghi), and Morgana (Helen Mirren) appear alongside Arthur (Nigel Terry) in a furious battle for control.

In a flurry of handsome European actors who would later become famous, Patrick Stewart and Liam Neeson both appear.

Most of the male cast are masculine, hunky, and very handsome. These traits cascade to how good they look in full body armor, shields, and swords doing bloody battles with each other.

Homoerotic scenes exist just as they did in Deliverance. Lest we only focus on the male cast, Helen Mirren is delightful as an evil seductress who oozes sex appeal.

The magical sword of Excalibur starts in the hands of a British lord Uther Pendragon (Gabriel Byrne) and then, years later, finds its way to his bastard son, Arthur, who is destined to become king but doesn’t realize why.

Merlin helps Arthur fulfill his fate by bringing together the Knights of the Round Table at Camelot and unifying the country.

Years later Arthur faces greater tests ahead in pursuit of love, the Holy Grail, and his nation’s survival as some attempt to steal the treasure for their advantage.

Excalibur had me with the visuals and I was able to immerse myself in the spectacular style and artistic set design with gorgeous sequences.

Several creative and glimmering shots of someone either emerging from or submerged underwater are featured. They are startlingly beautiful.

I pretended I had been whisked away to an otherworld of enchantment that I could sit back and enjoy.

The knowledge that the entire film was shot in Ireland captured and enraptured me. The breathtaking greenery and waterfalls are dreamlike. When Lancelot beds Guenevere in the forest they both appear nude. Their pale white flesh against the green is both magical and seductive.

And a treat for one’s curious eyes.

The story is overly complicated with reality mixed with either dreams or fantasy and some of the plots confused me. I finally got to a point where the intricacies became too much for me to comprehend especially against the stunning backdrops.

The plot became too jumbled and messy so it is advisable to drift off and take it all in rather than trying to make sense of everything.

A visual marvel Excalibur (1981) will delight the apt film fan. I fantasized about how the picture would look and feel on the big screen but I wasn’t that lucky.

The story is obviously far-fetched and ludicrous at times, but somehow that doesn’t matter and didn’t hinder my enjoyment of it.

I was treated to good-looking people in armor, unique costumes, and various states of undress. And that’s just fine with me.

2010 Films, Adventure, Danny Huston, Elizabeth McGovern, Fantasy, Liam Neeson, Louis Leterrier, Luke Evans, Mads Mikkelsen, Nicholas Hoult, Ralph Fiennes, Sam Worthington

Clash of the Titans-2010

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Clash of the Titans-2010

Director Louis Leterrier

Starring Sam Worthington, Liam Neeson

Scott’s Review #566

Reviewed December 27, 2016

Grade: B

Though I went to the theater begrudgingly to see Clash of the Titans-2010, (fantasy blockbusters are not typically my cup of tea), I have to confess to being moderately impressed by this film.

I had no real expectations other than it is a tale loosely based on the Greek myth of Perseus.

I have heard some people compare it to the original in an unfavorable way, but I have not seen the original- released in 1981 so any comparisons are a moot point.

At one hour and fifty minutes, the film is a perfect length and does not drag.

The plot is basic and focused. Perseus (Sam Worthington)  must save the life of the beautiful Princess Andromeda, as he leads a team of warriors into battle against vicious enemies.

Some of the creatures they meet along the way are fascinating.

Clash of the Titans (2010) is not fine cinema, and the acting is not spectacular, but the effects are worth mentioning and the look of the film is impressive.

My only real criticisms are the way Medusa is portrayed (said to be ugly, she really is a beautiful woman with snakes on her head) and the 3-D, which was pretty much unnecessary- this is probably an attempt by the studios to capitalize for profit.

2012 Films, Action, Aidan Gillen, Alon Abutbul, Anne Hathaway, Ben Mendelsohn, Christian Bale, Christopher Nolan, Cillian Murphy, Emma Thomas, Gary Oldman, Glen Powell, Joseph Gordon-Levitt, Juno Temple, Liam Neeson, Marion Cotillard, Matthew Modine, Michael Caine, Morgan Freeman, Super Hero, Tom Hardy, William Devane

The Dark Knight Rises-2012

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The Dark Knight Rises-2012

Director Christopher Nolan

Starring Christian Bale, Tom Hardy

Scott’s Review #431

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Reviewed June 23, 2016

Grade: C+

The Dark Knight Rises (2012) is a sequel to the exceptional The Dark Knight from 2008 and, unfortunately,  is a complete letdown, especially compared to that film.

Perhaps my expectations were too lofty- it is a sequel after all, and sequels, typically disappoint.

To be fair, the film looks great and has a fast-paced, modern feel- slick and action-packed. A summer popcorn film.

The story, though, is uninteresting- the villains are not compelling, which is a major miss in a film like this where the villains are crucial.

Tom Hardy as Bane is miscast. Anne Hathaway’s Catwoman is underdeveloped and one-dimensional. We never really know much about what makes these characters tick.

I did enjoy the twist at the end involving Marion Cotillard, which impressed me and I did not see coming throughout the story.

I might have rated The Dark Knight Rises even lower than a C+ had it not been for the group of top-notch actors appearing in the film.

Having loved the most recent Batman film, I expected more and received less.

2014 Films, Adventure, Alison Brie, Animated, Billy Dee Williams, Channing Tatum, Children, Chris Pratt, Christopher Miller, Cobie Smulders, Comedy, Dave Franco, Elizabeth Banks, Jake Johnson, Jonah Hill, Keegan-Michael Key, Liam Neeson, Morgan Freeman, Nick Offerman, Phil Lord, Shaquille O'Neal, Will Ferrell, Will Forte

The Lego Movie-2014

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The Lego Movie-2014

Director Phil Lord, Chris Miller

Starring Chris Pratt, Elizabeth Banks

Scott’s Review #284

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Reviewed October 24, 2015

Grade: D

A child’s movie in every sense of the word, The Lego Movie (2014) is silly and amateurish. It contains a hackneyed plot and a fast pace that makes the viewing experience quite unpleasant.

Computer-animated and primarily created by imagery, a scene involving two human beings interspersed among all the animations only makes the plot more sappy, overwrought, and predictable.

The film is a complete dud and a waste of energy save for one lone catchy song appearing throughout the film. I am perplexed why this film received mostly positive reviews as I did not share the same sentiment.

The premise is too complex for the target audience, in a Lego universe, where all of the characters are Lego pieces, a mysterious wizard- Vitruvius, attempts to protect a superweapon (Kragle) from the evil Lord Business.

While he fails, he prophesies that a person named “The Special” will one day find the Piece of Resistance capable of stopping the Kragle.

Kragle turns out to be superglue in the human world, as a cameo with Will Ferrell reveals he is the human version of Lord Business and refuses to let his young son play with Dad’s Lego set, thereby threatening to keep the set stationery with glue.

Inevitably, this leads to a tender scene with Dad and his son.

I did not find The Lego Movie engaging story-wise or visually and I was bored during most of the experience.

Admittedly, modern animated films are not my favorite genre- I miss the days of the classic Disney drawing-style films like Bambi or Dumbo both in the 1940s.

The major flaw is the frenetic pacing of the film. Did the powers that be think that all youngsters and parents dragged along suffer from attention deficit disorder? There was no time to pause and ponder what was going on in the story since immediately it was on to the next scene.

The action is non-stop so the film seemed like one long action sequence.

The main character of Emmett, a young Lego piece characterized by everyone as dull is voiced by Chris Pratt. Emmet stumbles upon a young woman named Wyldestyle looking for something at his construction site- she assumes he is The Special and they race to save the world from Lord Business.

Emmet, as far as a lead character goes, is likable enough, and predictably, a romance develops between him and Wyldestyle. We meet various creative characters like Batman and Princess Unikitty.

The film contains a sickeningly catchy song called “Everything Is Awesome” that will stick in the viewer’s head whether desired or not and that is the strongest part. It is not that the song is lyrically great or anything, but it is fun and hum along.

Overly high octane and an uninteresting plot make The Lego Movie (2014) perhaps appealing to young kids in the seven to ten range, but it is a forgettable and tedious experience for this grown-up.

The ending of the film leaves room for the inevitable sequel.

Oscar Nominations: Best Original Song-“Everything Is Awesome”

2014 Films, Corey Hawkins, Corey Stoll, Jaume Collet-Serra, Julianne Moore, Liam Neeson, Lupita Nyong'o, Michelle Dockery, Scoot McNairy, Thriller

Non-Stop-2014

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Non-Stop-2014

Director Jaume Collet-Serra

Starring Liam Neeson, Julianne Moore

Scott’s Review #55

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Reviewed June 22, 2014

Grade: B-

I am a sucker for a good airline disaster action film.

I found Non-Stop (2014) to have two parts- the first one hour and fifteen minutes and the final thirty minutes.

A film like this (action, popcorn flick) requires suspension of disbelief.

The events in this film will NEVER happen.

In recent years, Liam Neeson, at sixty years old plus, has settled nicely into action hero star in mediocre to above-average film roles.

He has found his niche.

The first part of the film is highly entertaining. One hundred and fifty passengers on board an international flight from New York to London are in peril when a terrorist begins texting troubled U.S. Air Marshall (Neeson) that someone on the flight will die every twenty minutes unless One hundred and fifty million dollars is transferred to their account.

From this point begins a compelling whodunit.

Which passenger is sending the text messages? Could it be a flight attendant or the captain of the plane? Several characters are introduced and some red herrings commence. Who begins framing the Marshall? Why?

This is compelling fun stuff.

Most of the action takes place on the plane giving the film a claustrophobic atmosphere.

Then, however, the second part of the film takes over. Not to give spoilers away, but it reaches a ridiculous, silly conclusion, and I found myself saying out loud, “this is stupid”.

A needless and contrived plot of a little girl on the flight is trivial.

I expected more from Michelle Dockery of Downton Abbey fame.  Lupita N’Yongo is given a throwaway role (let’s assume she was cast before her Oscar-winning turn in 12 Years a Slave in 2013).

Popcorn fun, but disappointing ending summarizes Non-Stop (2014).