Liam would have conquered the screen, if the editing would have hold a frame for a while.
And we meet again. The writer Brad Ingelsby fascinates me. His writing procedure, his character and the way they travel in his plot tracks is equally intriguing. They take detours, they take uncalled stops, they bump into randomness and they also ask us to stop this everlasting train. And I know I usually give credit, at first. to the director who in this case is Jaume Collet-Serra. I just wanted to swoon over Brad’s filmography and how it has caught my eye over the years. Not that I have anything new to add to those already said and observed things. This project, the stereotypical action thriller and it is extremely typical in its genre, has something else that I’d loved and exhaled over. It is its irrelevantly fast edited scenarios.
And not some physical action sequence but even a conversation is crisply edited out. No. Not crisply, but wrongly. Multiple times we can see the dialogues lapped over physical sequences to pace up the film in a briskly adventurous night. What it instead results into is a disappointing questionable set of scenarios that doesn’t respect anything. Neither the action nor the characters nor the actors and what they are diving or dying or performing for is accounted into a disrespectful character.
Character, I say, for it repeatedly pops up on screen and also has his own arc in the sense that it gets less and less visible and annoying. Run All Night seems, is simply terribly edited. It cuts to another frame within a blink or like a blink. It feels unintentional, wrong and doesn’t quite add up. There is a disturbance between conversation. This violence is much louder than any other explosives and bangs. And on the other hand, the final act is incredibly slow and settling which in its own way makes up for that uncalled editing that jumps back and forth.