Liam Neeson hasn't quit making old-guy Westerns, but this Ireland-set one is his best in a bit. Our In the Land of Saints and Sinners review:
It’s not necessarily that we forget Liam Neeson is Irish – not exactly. It’s more that his Irishness has long felt subsumed into a brusque Irish-Americanness, his characters’ drinking conducted at dives that are half Irish pub and half Western saloon, the Catholic guilt that powers so many of his vehicles turned semi-secular.
In the style of a Western, Finbar gets drawn back into his old profession by a gang of outlaws. After fumbling a car bombing in Belfast, a quartet of IRA operatives led by Doireann McCann arrive in town to hide out; Doireann has a tenuous family connection there, as her departed husband’s sister Sinéad tends bar in Glencolmcille. When Finn intuits that Doireann’s brother has been abusing Sinéad’s little daughter Moya , he takes it upon himself to relieve Moya’s burden.
In most Neeson vehicles, the lead adversarial role would be played by a slightly younger male actor, perhaps with some name recognition but not quite Neeson’s level of gravitas. So there’s a certain amount of automatic novelty in pitting the big guy against a decades-younger woman . Condon isn’t affecting the subtlety of her work in the similarly sea-swept in a barely contained rage, reigniting interest in a stock part.
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