Ultimately this is a hard movie to recommend – it does attempt some important themes but it’s overlong and just too cheerless to sit through considering the lack of ingenuity within the narrative. The only real question it poses is why Rosamund Pike’s career hasn’t taken off since the three year old Gone Girl. She delivers a phenomenal performance here as well and deserves more interesting projects.

Contrast this to a film like United 93 which is a masterpiece in the genre that this film explores – because unlike Eastwood, Paul Greengrass focuses on character and tension rather than jingoistic overtones even with a no name cast. In this film Eastwood declares an ‘it was meant to be’ undercurrent into the incident, portraying the three heroes as angels who were part of a mystic prophesy to thwart the Islamic infidels.

There were elements of horror and mystery in the previous installments — which set it apart from boring siblings like the Divergent films — and had director Wes Ball employed a similar small scale approach this could actually have been a worthwhile revisit to the film’s world. The zombie stuff is present but treated with a blockbuster palette — and by going with big scale action set pieces set in generic beats the film becomes an overlong and unworthy finale to something that seemed like it had potential. At this point we should just be thankful that the film wasn’t split in two climactic parts like many of its peers.

January is most known for being Hollywood’s trash can and the only thing The Commuter succeeds in doing is solidifying this stereotype.

Since the equally jingoist American Sniper January has become a market for dodgy war movies with whitewashed personalities, a precedent that Hollywood could do without

Much like the Hangover sequels, this film tarnishes the memory of the original, and in a dangerous way, in that it makes you loathe the once relatable characters in the film.

There is a chance the film will have a better shelf life on streaming platforms because of its crowd pleasing musical elements, maybe it would be better to wait it out rather than catch it in theaters where one can’t push the forward button during the dull dull bits.

Good intentions, terrible direction…

The only positive aspect in this extravagant jaunt is the post-credits scene which promises something worth keeping your interest in this franchise. At this point, however, any hopes for this getting better in quality are very low.

The special effects are all right but in an era where CGI is so commonplace there’s little here that holds your attention. Moreover we’ve seen this stuff before in films like Twister and 2012. The real problem with the film isn’t that it is dumb, it’s that it isn’t nearly dumb enough to warrant a recco. Director Devlin could have gone all out and made a bad movie classic here, but it feels like an opportunity (apart from the ton of resources) has been wasted.