Liam Neeson

Diane Kruger

Jessica Lange

Danny Huston

Alan Cumming

Ian Hart

Adewale Akinnuoye-Agbaje

Daniela Melchior

Patrick Muldoon

Colm Meaney

François Arnaud

Seána Kerslake

Stella Stocker

Darrell D'Silva

Mitchell Mullen

Roberto Peralta

J.M. Maciá

Michael Garvey

Minnie Marx

David Lifschitz

Antonios Antoniadis

Luke Manning

Mark Schardan

Billy Jeffries

Gary Anthony Stennette

Julius Cotter

Michael Strelow

Tony Corvillo

Kim DeLonghi

Stephen Wilks

Alan Moloney

Brenda Rawn

Keith Gallagher

Lauren O'Leary

Neil Jordan

Marc Domènech Sanmiquel

Raymond Chandler

William Monahan

John Banville

Elisabeth Costa de Beauregard

Mark Fasano

Celine Haddad

Patrick Hibler

Billy Hines

Christopher Hines

Gary Levinsohn

Redmond Morris

Ankur Rungta

Vishal Rungta

Steven Sims

Harris Tulchin

Tobias Weymar

Dan Hubbard

Betsy Heimann

Mick Mahon

Steve Fanagan

Lorraine Glynn

Niamh O'Loan

Pamela Smyth

David Holmes

John Beard

Xavi Giménez

Philip Kim

Cristina Pulber

Irene O'Brien

Crime

Marlowe

Parallel Films

H2L Media Group

Nickel City Pictures

StoryBoard Media

Davis Films

Aperture Media Partners

Elipsis Capital

Jeff Rice Films

The Foley Lab

Fís Éireann/Screen Ireland

Parallel Film Productions

France

Ireland

Spain

United States of America

Peter McGinn

I have watched a few movies based on Raymond Chandler’s Philip Marlowe, and I can’t say that any of them dazzled me, even though they were usually played by actors I liked. This version struck me the same way. I really like Liam Neeson and feel that he has elevated a few B quality movies I have seen him in. But either he couldn’t or wasn’t allowed to work similar magic here. 

The characters don’t mumble exactly, but the overall effect to me is that they might as well have been. The dialogue isn’t exactly electric and they seem to deliver them rather matter of factly. When Marlow beats up a few guys and says, “I am getting too old for this,” it comes out sounding like the tired cliche it is rather than a heartfelt observation by a jaded private eye.

So I can’t help but label this as a missed opportunity; I mean, it’s Liam Neeson for goodness sake. Write the man some better lines and action sequences.

Per Gunnar Jonsson

Regardless of what a lot of people claim, this is a quite good old-fashioned murder mystery and private investigator story. It is quite well done in the style one would expect when implementing a story where the main character is the famous Philip Marlowe.

This kind of story should not be filled with insane action, psychopathic outbursts or any other of the other stuff that Hollywood (as well as probably the younger audience) seems to think that every movie needs.

Is it slow as many people say. Sure if you compare with John Wick it is slow. For a Philip Marlowe movie it is just right.

When watching this movie I was really quite happy that this was not another movie (and character) that Hollywood felt they had to “modernize” like the remake abominations where Hercule Poirot runs on top of train cars and chases murderers waving guns.

It is a good mystery story. It is a good implementation. Liam Neeson, whom I generally like as an actor, is quite a good fit for the role of Philip Marlowe. Overall I quite enjoyed this movie.

The fact that the so called “critics” at Woke (Rotten) Tomatoes gave this movie 25% Rotten of course destroyed any credibility these woke hacks might have had left. If I move does not project the right agenda it is rotten by their standards, or rather lack thereof.