Movie review: Cold Pursuit

February 16, 2019

LIAM Neeson, still the late blooming action star at 66, stars in yet another revenge drama, this time laced with dark humor, in “Cold Pursuit”. He plays Nels Coxman, a snowplow driver in a resort town, Kehoe, in the Rocky Mountains. He lives a quiet life and was just awarded as Citizen of the Year for keeping their snow-filled roads clear even during blizzards.

But his quiet life turns upside down when his son Kyle (played by his own real life son, Micheal Richardson, from his late wife Natasha Richardson) dies from drug overdose. He gets so depressed, thinking he didn’t really know his son. He’s about to shoot himself when he learns the truth from his son’s friend, with whom his son worked as a baggage handler in the Denver airport, that his son was actually murdered by a drug syndicate. He then becomes a vigilante warrior who stalks and kills various members of the syndicate named Speedo, Limbo and Santa. 

The leader of the drug cartel, Trevor Calcote aka Viking (Tom Bateman of the TV series “Da Vinci’s Demons”), thinks the killings were caused by a rival syndicate of Native American Indians led by White Bull (Tom Jackson). Viking kills White Bull’s only son and this leads to a gang war between the two drug traffickers, which escalates the film’s body count that is listed down on screen every time there is a killing, complete with little crosses as some sort of R.I.P. 

When Viking finds out its actually Liam Neeson who killed his men, he tries to call off the gang war but White Bull is so bent on seeking vengeance by seeking Viking’s own son, Ryan (Nicholas Holmes), a smart little boy who loves classical music, to pay for the death of his own son. But Liam has already kidnapped Ryan and this leads to a climactic battle and showdown in the snow between the drug lords and Liam which, we think, could have been better blocked and executed. 

The movie is the Hollywood directorial debut of Hans Peter Moland, a Norwegian who based it on his own Norwegian film, “In Order of Disappearance”. He treats the material with a wry and morbid kind of playfulness, making some of the killing even somewhat oddly hilarious, like that of a hitman named Eskimo