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Critic’s Rating: 3/5

A Liam Neeson actioner always, and quite literally, lives up to its title. From Taken and Run All Night to The Commuter, Non-Stop and A Walk Among the Tombstones, right over to Taken 2—where the inciting incident from the previous film takes place again—we walk into the theatre knowing fairly well what we’ve paid to watch. The Grey changed that. Little did we suspect that we’re stumbling into the greyest zone Neeson’s little sub-genre of film would ever occupy.

And then comes Cold Pursuit, Neeson’s latest, which earns its title stripes and lets a bunch of bad guys take away his son in a town that seems to have a perpetual winter. Predictably, this invites his wrath and he begins finding and killing them, steadily working his way towards the drug lord at the top, seemingly unstoppable. When suddenly, director Hans Petter Moland jettisons Neeson’s killing spree and picks up a newly minted narrative strand. One involving a turf war between Viking, the drug lord Neeson is after, and White Bull, his American Indian rival. Moland appears to have forgotten about Neeson’s vengeful mission altogether.

Slowly, we start to grasp Moland’s absurdist reworking of the revenge drama. The clues were there right before our eyes. In Tom Bateman’s hilariously exaggerated performance as the villainous Viking. In the seemingly off-kilter incoherent musical score that accompanies the deaths or the inter titles that keep a log of the characters dying on-screen. The reed-dry, in-your-face jokes and one-liners that ‘enliven’ the narrative.