“Are you tired, old man?” an arrogant, younger soon-to-be victim of Liam Neeson taunts in “Cold Pursuit” — the latest installment of the actor’s 21st-century action hero renaissance. And of course, he’s in for a rude awakening and one that’s probably a bit more brutal than you’re used to. Most of the Neeson New Age – the “Taken” franchise, “Non-Stop,” “The Commuter” – are PG-13 and don’t get to take full, graphic advantage of Neeson’s hulking 6’4″ frame. His meat mallet fists might be of retirement age but they can still do harrowing damage, and “Cold Pursuit, puts that physicality to good use, earning its R rating; most of that “strong violence” is committed by Neeson’s justice-driven father. Filled with the sounds of crunching bones, bouncing teeth, and gurgling blood, this thriller also produces rippling laughter from the audience at its inky black sense of humor. Fortunately, self-aware, its first jokes come in a morgue, daring you to smirk while parents mourn their son. This movie is not messing around, but there’s a sense of fun amidst all its savagery.
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Though Neeson’s Nels Coxman (go ahead and snicker) is awarded as the “Citizen of the Year” in fictional Kehoe, Colorado, his work as a snowplow driver is solitary, surrounded by walls of white as he clears the remote mountain roads around the ski town. When his son, Kyle (Micheál Richardson), is murdered, the reticent Nels goes on a rampage, tracking down who is responsible for Kyle’s death one by one, while his wife, Grace (Laura Dern), grieves at home. He’ll ultimately make his way up the chain until he reaches drug kingpin Viking (Tom Bateman), a cruel Denver crime boss clad in whatever suits are nicer than Brooks Brothers. Meanwhile, local detectives Kim (Emmy Rossum) and Gip (John Doman) trade their normally quiet work in the sleepy ski town for a multiple murder investigation as the bodies begin to pile up.
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Yep, it’s certainly conventional, but with “Cold Pursuit,” Hans Petter Moland makes the most of a bigger budget and charismatic star in this remake of his 2014 Norwegian film, “In Order of Disappearance.” Moving the small-town Scandinavia locale to the American Rockies, Moland reuses a number of the same shots and beats, but this version, written by Frank Baldwin is much funnier than its predecessor and makes some minor updates. In the original, the main drug lord declares war on a Serbian gang, but here it’s a crew of Native Indian Ute drug dealers, led by White Bull (Tom Jackson). “In Order of Disappearance” had its villain be a vocal vegan; here he’s full-on Paleo – and still an asshole. The Nordic noir feel of the 2014 movie still remains, but this time around, it takes on a Western dimension in its setting, its cast of characters and its “High Noon“-esque one-man-against-many plot line.
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With its juxtaposition of deaths and laughs, Moland’s film concentrates on how often grief and humor overlap, that is, when it’s not busy racking up a body count that seems to outnumber the entire population of Kehoe. If the film is any indication, the director and screenwriter are fans of Martin McDonagh and the Coen Brothers with their darkly comic approach to vengeance, violence, and absurdity that has utter disregard for cultural sensitivity. “In Bruges” and “Fargo,” in particular, leave their fingerprints on this film, but “Cold Pursuit” doesn’t aim as high. Baldwin’s script is full of texture and detail, believably creating a small town and its neighboring underworld full of unique characters. However, that screenplay, or the editing room floor cuts, leaves several substantial threads dangling, making for a film that’s ultimately not as well woven as it could have been.
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Flaws and all, “Cold Pursuit” is a gleefully violent good time. Moland’s movie is silly but sharp, with barbs drawing blood despite a story that we’ve seen before (whether or not you’ve watched “In Order of Disappearance”). His movie shows that revenge is a dish best served cold, and here it’s positively freezing, literally and metaphorically with its bleak humor. “Cold Pursuit” is not for the faint – or kind – of heart, but it should appeal to audiences who like their humor with a meanspirited streak. [B]