by Tony Medley
Run time 109 minutes.
OK for children.
Two years ago Liam Neeson starred in a film
released very early in the year, the graveyard time for films. It bucked
the trend and became a breakout hit. So now heís following it up with
another tense film, releasing when most of what is out there in
Martin Harris (Liam Neeson) awakens after a car accident in Berlin to
discover that his wife (January Jones) suddenly doesnít recognize him,
and that another man (Aidan Quinn) has assumed his identity. Even his
wife denies his existence. All alone in Berlin heís not only perplexed,
someone is trying to kill him. Whatís going on?
Directed by Jaume Collet-Serra from a screenplay by
Oliver Butcher & Stephen Cornwell, based on the novel by Didier van
Cauwelaert, this is a non-stop, high tension thriller that doesnít let
up until the end.
Adding to the wonderful ambience of the film are
the cinematography (Flavio Labiano), production design (Richard
Bridgland), and editing (Tim Alverson), which is so important to
creating and maintaining pace. But whatís most important in these types
of films is the music and this is replete with wonderful, mood-enhancing
music by John Ottman and Alexander Rudd.
Martinís only friend is the reluctant Gina (Diane
Kruger, in a fine performance), a refugee who drove the cab in which
Martin gets injured. Frank Langella makes one of his always convincing
performances near the end of the film as Rodney Cole, a friend from the
U.S. upon whom Martin relies to finally establish his identity to all
Martin seems to be facing an insoluble problem, but
when it all comes together at the end it makes perfect sense.