Mobster and hit man Jimmy Conlon has one night to figure out where his loyalties lie: with his estranged son, Mike, whose life is in danger, or his longtime best friend, mob boss Shawn Maguire, who wants Mike to pay for the death of his own son.
Ex-government operative Bryan Mills is accused of a ruthless murder he never committed or witnessed. As he is tracked and pursued, Mills brings out his particular set of skills to find the true killer and clear his name.
Professional Brooklyn hitman Jimmy Conlon is more commonly known as THE GRAVEDIGGER. Jimmy was a mob hit-man, who was best friends with his boss Sean Maguire. But when Jimmy's son, Michael, is marked for death by the mob, Jimmy must go up against Sean to protect Michael at all costs. Together, he and Michael must avoid corrupt cops, contract killers and the mob to survive the night.
At one point during a street chase, Jimmy (Liam Neeson), runs past a billboard for Mad Max: Fury Road (2015). That film was also produced by the same studio (Warner Bros.), was scored by the same composer (Junkie XL), and the trailer for the film was attached to all release copies of this film. See more »
After the moment when Jimmy answers the phone while watching the Rangers - Devils ice hockey match, you can distinctly hear the squeaking of sneakers coming from the television to indicate that there is a match going on, but there are no sneakers in ice hockey. See more »
The things I did, the things I've seen, it becomes who you are. You can't just go home and scrub it off. The only way I could protect you was to walk away. Forget about you and your mom. I wanted a better life for you than the one I chose for myself.
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Fluently put together and entertaining enough for it not to be forgotten as easily as it could have been, yet it falls short in achieving both what it could have and what it promises to, that being a remarkable and unique action thriller.
All of the problems "Run All Night" has seem to tie in together and make just one big problem: it simply does not use its potential and it does not use it exactly because of the problems it has. Firstly it does not use its well defined characters to its advantage and ultimately even fails to stick to some. Moreover way to many times the film descends into ultra-generic territory: I was watching the film, entertained and time and time again what it seemed to be leading up to wasn't as interesting as I wanted it to be, it was a situation I had seen times and times again and I was repeatedly left asking myself "so that was all?". The director also hints at a very original eye for visuals, just as the whole movie hints at a better, more intriguing and surprising film, but ultimately both fail to the delver what they promised. The visual style and editing style had some brief brilliant moments, but for the majority falls into, again, ultra-generic and fast-cut distracting action scene. Way too many times I wondered why hadn't the director shot a scene in another way which could have made it incredibly and vastly more fascinating to watch.
That is not to say that there are many redeemable qualities. First and foremost there is genuine tension mostly because of the well rounded characters for whom I had a surprisingly positive emotional connection and didn't realize so until the end. Helping this is a fantastic cast that delivers the majority of the goods. Neeson is obviously charismatic, he isn't phoning it in, he is giving a heartfelt performance that definitely delivered. Ed Harris is in my opinion one of the best actors of history possibly and this is further proof that he simply can do no wrong, he has a presence on screen that is very hard to match. Even Kinnaman, whom I have been a critic of, is delivering a good enough performance. Lastly, the story doesn't ever realize its potential as I said, but it still makes for a very riveting premise that kept me hooked until the end, despite an overlong duration.
I had a good share of fun and excitement, but I was disappointed to see such a good opportunity ending up being another average film.
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