A whole string of alarm clocks go off in a quick succession of early mornings in a clever preface that establishes the daily routine of Michael MacCauley, the commuter of the title.
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“The Commuter” starts brightly by riffing on the cliché of starting a movie with an alarm clock going off. Neeson and the director, Jaume Collet-Serra their most successful film, “Unknown,” was released in 2011. This is the fourth collaboration between Mr. Here’s how filmmakers can fill screens when they don’t have a film to make. (The line is called Hudson North in the movie, which also refers, oddly, to the train’s cars as carriages.) Yet the nonsense content, being pure, is liberating, and allows us to savor all the machinery as machinery: the train, the plot, the pitch-imperfect dialogue, the huffing-puffing fights, the ridiculous stunts and, yes, the climactic train wreck.
There’s no reason why someone else couldn’t have done, with much less fuss, what Liam Neeson’s insurance salesman is forced to do in the course of heading home from Grand Central Terminal aboard a Metro-North train. What’s less obvious at first, though increasingly clear as this thrill-free thriller chugs on, is that the plot is entirely unnecessary-not just another Hitchcock rip-off with logical lapses, but absurd from start to finish.
The most obvious thing to say about “The Commuter” is that it’s a train wreck many will say that, and they’ll be right.
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