Liam Neeson thrillers have become as common as day and night and we’ve grown accustomed to getting at least one a year. They usually follow a pretty familiar blueprint and each generally adheres to the same narrative formula although with slight variations (and I say that as a fan). But lately many of his thrillers have shifted from light and easy genre fare to grittier and more serious-minded. That trend continues with his latest, “Absolution”.

In “Absolution”, Neeson reunites with director Hans Petter Moland (the two worked together in 2019’s “Cold Pursuit”). While their previous collaboration had a pitch-black comedy element to it, “Absolution” is more of a tragedy. Screenwriter Tony Gayton puts together a sturdy crime thriller framework. But his interests lie deeper and are more human. And as its “Everyone Pays in the End” tagline foretells, not even the film’s damaged protagonist will remain unscathed.

In “Absolution” Nesson is in top form and his signature gravitas is one of the film’s biggest assets. He puts off distinct Charles Bronson vibes with his late ’70s fashion sense, thick mustache, and steely tough-as-nails intensity. He plays Thug, a former boxer and hardened gangster who has loyally worked under a Boston crime boss (Ron Perlman) for thirty years. Though still deadly and efficient, some see Thug as a relic. This comes out most in some early scenes where he’s asked to work alongside the boss’s inexperienced and reckless son (Daniel Diemer).

But Thug has other concerns, mainly his reoccurring headaches and bouts with memory loss. He sometimes forgets names and directions, and even where he lives. He finally sees a doctor and is diagnosed with CTE (Chronic Traumatic Encephalopathy), a neurodegenerative disease directly linked to repeated head trauma. He’s told to expect a sharp decline over the next couple of years which inspires him to make amends for the life he has lived.

Thug reaches out to his estranged and rightfully bitter daughter Daisy (Frankie Shaw), a struggling single mother who reluctantly introduces him to his grandson, Dre (Terrence Pulliam). Moland and Gayton tease what looks to be a conventional reconciliation story. But for Thug, reconnecting proves difficult. And no matter how hard he tries, he can only keep his condition a secret for so long – from his understandably leery daughter; from the kind-hearted and filterless prostitute he begins seeing on the side (Yolonda Ross); and from his suspicious boss.

Neeson shrewdly embodies every facet of his character, from the grizzled tough-guy to the broken shell of a man fighting to keep his mind intact. It’s a measured and textured performance that pulls from the often underappreciated screen veteran’s acting arsenal. Both Shaw and Ross add compelling pieces while Perlman is a sturdy presence in a small but impactful role.

Not everything in the film clicks into place. There are a couple of well-meaning but out of tune dream sequences that don’t quite pack the emotion punch they’re going for. And there’s Thug’s sudden soft spot for a captive sex worker that desperately needs more attention. Yet “Absolution” remains a gripping slow-burn that offers Liam Neeson a meatier and more contemplative role while giving him the chance to knock off a few goons for old times’ sake. “Absolution” opens in theaters this Friday.

VERDICT – 3.5 STARS