Bless Liam Neeson, that Irish Energizer Bunny. For the last decade or so he’s perfected starring as the everyman that takes a licking but keeps on ticking. In movies like Taken and its two sequels, Unknown, Non-Stop, and Run All Night, Neeson has been a dependable action hero that manages to make tired premises seem like new ideas, even if they just magically vanish from your memory the moment the lights come up in the theater. Teaming up for the fourth time with director Jaume Collet-Serra (The Shallows), Neeson and his frequent collaborator aren’t navigating to any new destinations  in The Commuter but instead are focused solely on the ride.

Michael MacCauley (Neeson, The Grey) is having a bad day. He’s just been let go from his job in life insurance and isn’t sure how he’s going to tell his wife (Elizabeth McGovern, Ordinary People, in a glorified cameo) that their already hand-to-mouth life is going to get that much more difficult. A former cop that had Patrick Wilson (Insidious) as a partner and Sam Neill (Jurassic Park III) as his boss, MacCauley is pondering his next move when a mysterious woman (Vera Farmiga, The Conjuring) approaches him on his commute home from NYC to the outer suburbs. She poses an interesting proposition to him, identify the one person on the train that “doesn’t belong” and he will be rewarded with a $100K payday.  Of course, this being a thriller desperate to be called Hitchcock-ian, there’s a deadly twist to taking the money. As soon as MacCauley pockets ¼ of the cash he’s thrust into making good on his promise to locate a material witness or suffer increasingly dangerous consequences.

So begins a game of Neeson trekking back and forth through the train, eliminating suspects with each stop before gathering the remaining passengers in one car in an Agatha Christie-esque wrap-up.  While you may feel the movie is constructing a bit of a skilled puzzle, I’d advise you to trust your instincts because the identity of the witness nicknamed Prynne isn’t that hard to decipher.  The movie throws in enough red herrings to nearly make a trip to the dining car a necessity but anyone familiar with these types of films will catch the subtle clues that point to the solution rather quickly.

Like the previous Neeson/Collet-Serra vehicle, Non-Stop, the set-up rather amiably carries the film for the first 50 minutes or so but the more the movie shifts from its early mystery intrigue to more action based sequences the less engaging it becomes. While Neeson looks game but gaunt, the most interesting character is Farmiga and (slight spoiler) she’s not on screen for the majority of the film. Shoddy CGI effects and some pretty lousy acting by a bunch of Brits desperately trying to disguise their accents aids in the film running out of steam long before a protracted finale and lame epilogue completely derails it.