Summary

Liam Neeson returns in an action thriller set in Ireland, playing an aging hitman facing the IRA.
The film adheres to the Liam Neeson formula, with little character development or engaging plotting.
While flawed, the movie has authentic Western genre vibes, and Kerry Condon’s standout performance should not be missed.

Liam Neeson is back in action with In the Land of Saints and Sinners — this time in Ireland. He brings his signature gruff action formula, playing an aging hitman who faces off against ruthless members of the IRA just as he is about to leave his violent past and career behind. Reuniting with The Marksman director Robert Lorenz, the duo brings us to the rocky cliffside of Ireland, where we follow the well-liked widower Finbar Murphy. He has a mysterious past and connections to shady members of the small community, but he’s friendly with neighbors and the police chief.

In the Land of Saints and Sinners is an action crime thriller directed by Robert Lorenz and stars Liam Neeson as former assassin Finbar Murphy, who is in retirement and looking to leave his hitman days behind him. When Murphy’s peaceful Irish town is rocked by terrorists who have begun abusing the locals, he slips back into his old ways to deal with them, all while trying to keep his identity a secret from those around him.ProsThe film is bolstered by Kerry Condon’s fantastic performanceThe action thriller can be gritty, balancing darkness and light ConsThe film offers nothing new or too interestingIt’s too much of the Liam Neeson action formula

Unbeknownst to the quiet coastal town, Finbar is a hitman for hire until he has a relatively recent change of heart. His decision to leave the deadly life behind is met with minimal resistance or consequences, though, which is ideal for a man like him. Finbar runs into trouble when he decides to bring down justice one more time after witnessing a heinous crime. His act of retribution, which the young hitman Kevin (Jack Gleeson) becomes entangled in, has fierce IRA loyalist Doireann (Kerry Condon) hunting for Finbar in a deadly cat-and-mouse game.

The Liam Neeson Formula Is A Structure That Requires Support & A Solid Foundation
In the Land of Saintsand Sinners doesn’t have much of that

In the Land of Saints and Sinners is very much subscribed to the Neeson formula. It fits neatly with his solo action films of the last 16 years, since the release of Taken. Neeson plays a character with a particular set of skills and uses them to help the unfortunate. He holds tight to a moral compass as he seeks to help an unlucky soul who has crossed his path. In this case, a young girl who is preyed upon.

Gleeson is often on the receiving side of an impassioned expression of regret or wisdom earned by a long life of bad deeds. The formula is frequently the root criticism of Neeson’s films, but the formula isn’t really the problem. Screenwriters and directors tasked with making a Neeson actioner must do something with it to make it worth our time. Unfortunately, In the Land of Saints and Sinners is fixated on setting the stage, forgetting to flesh out the story and characters. Finbar is like most Neeson characters, so there’s little expectation that something different or exciting will happen.

There is value in action thrillers that play with the concept of good and evil, interrogating how much of the moral gray is just darkness.

However, it’s the neglected supporting characters who impact the entertainment of the film. Here, we have a story of two people who exist in the morally gray area. Condon’s Doireann is devoted to a free Ireland, a noble cause, but her methods are not. Finbar, more than anyone else, may be able to sympathize with her, yet the story doesn’t build their arcs in a way that creates a bridge. They won’t find common ground, but they can be foils for each other, forcing them to reckon with their choices.

In The Land Of Saints & Sinners Has Little New Or Interesting To Connect With

Despite the formula, it can be entertaining. There is value in action thrillers that play with the concept of good and evil, interrogating how much of the moral gray is just darkness. A film like In the Land of Saints and Sinners is ripe ground to tap into these themes, and the film is at its best when it illustrates how Finbar and Doireann are kin while being at odds. Finbar has had a lifetime of regret and seeks peace through gardening, friendship, and love.

Doireann is at the deep end of righteous indignation, hungry for blood; yet, we see moments of moral clarity when she wants to spare children in a bombing or kindly spare a victim’s mother. But these are just glimpses of consideration for a meaningful story. Neeson and Condon make for a compelling duo. Condon gives a strong, steely performance, overshadowing Neeson. Gleeson is a compelling addition as the young hitman building his reputation but, unlike Finbar, has options to step away from his current path before he becomes full of regret and guilt like Finbar.

The trio makes a case for why the film is engaging, as the character relationships, violence and justice inform their decisions, which are radically different from one another. Screenwriters Mark Michael McNally and Terry Loane have the foundation for a genuinely compelling, complex human story that is wrapped up in an action thriller. There is plenty of blood and violence, so don’t be too discouraged if that’s what you seek. However, what is all this worth if the story doesn’t grab you, make you think, or even inform the action meaningfully?

In the Land of Saints and Sinners Director Robert Lorenz Release Date September 15, 2023 Studio(s) Facing East , RagBag Pictures , Prodigal Films Limited Distributor(s) Netflix Writers Terry Loane , Mark Michael McNally Runtime 106 Minutes

In the Land of Saints and Sinners may have flaws on the page, but there is an ounce of hope as the picture effectively evokes the Western genre during The Troubles. The windy coastline, rolling green hills, and quaint village life are beautifully captured. Even the ominous dark cloud that sweeps in as Doireann and her crew roll into town is darkly captivating. The thematic throughline is clear: Violence begets violence, yet it is what upholds the safety of society. It is a grim assessment, yet Lorenz manages to articulate it clearly.

What is all this worth if the story doesn’t grab you, make you think, or even inform the action meaningfully?

There are glimpses of patience and understanding as the film balances the quiet tragedy of civil unrest with the booming desire for hope. Doireann stands squarely at the center of this as she is both the victim and a perpetrator of harm, yet her resilient spirit is admirable and shared. It’s a shame that the script could more effectively bridge her story with Finbar’s, especially since Condon is giving her all. If there is anything to be gained by watching In the Land of Saints and Sinners, it’s that Condon can do no wrong and should be challenged more.

In the Land of Saints and Sinners
opened in limited theaters in the US on Friday, March 29.