Memory Review

Tell me if you've heard this before: Liam Neeson plays a hitman in a new action-thriller.

In "Memory," the Irishman's latest film, things are a bit more complicated than, let's say his previous 2022 effort "Blacklight:" he has early onset dementia. This gives our veteran hero/antihero something meaty to sink his teeth into. Or rather, something meatier than anything he's done in recent memory. (I really hope I'm the first critic who's said that.)

The best action movies all have three basic ingredients: great action, great acting and a great script. The good ones can get by on just two, and we don't really talk about the rest. Director Martin Campbell brings the first point in spades, like he always does. What about Liam? He's commendable as ever, an attractive screen presence who's dedication to every line of dialogue as if it's written gold. The issue with "Memory" is that the screenplay is only OK, and with anyone else in-front or behind the camera, this flick would, ahem, fade from, well, you know.

Anyway, the actual narrative involves Neeson playing Alex Lewis, an aging assassin who's concerned his impairment is interfering with his profession. His next victim is a teenager who's pimping father was recently killed during a sting operation by FBI agent Serra (Guy Pearce), Alex doesn't snuff kids. Good for him (and very good for her), but his employer simply hires someone else to "take care" of what he wouldn't. The remainder is a familiar cat-and-mouse game between the hired-gun and the feds, both working separately to take down the same person. Or is it people? Ooo, the suspense.

If it sounds like I'm picking on the movie, I'm not. In fact, I admired much of it, from its brutal deaths to its commitment to such a serious gimmick, losing me only when I realize that its existence is to make entertainment out of illness and child sex-trafficking.

The whole thing reminds me of 1989's "Kinjite: Forbidden Subjects," as if you wouldn't get a Charles Bronson mention in a Liam Neeson review. Both are well-produced films, showcasing elder action stars doing things their body shouldn't naturally allow for, but this one punctuates its brisk pace with a sad undercurrent about getting older. "Memory" is also far less exploitative, but it's subject matter isn't something that easily makes for cinematic comfort food. This point rears its ugly head every time I think back fondly on it, begging me to forgive its slimy backstory in spite of its technical expertise.

Have it be known that I'm fully aware that underage prostitution is something as common on a network TV crime series as cops; I'm also not forgetting why Neeson's daughter was taken in, well, "Taken." I guess what I'm saying is, "Memory" is R-rated, and without anything but good taste to stop the filmmakers from actually showing what nobody wants to see, I realize I'm not comfortable with this material.

What am I to do here? I can recommend this remake of the Belgian "The Memory of a Killer," which was unseen by me, for fans of the actor. The rest? Well, I'm sure you thought this was "Taken 9."