---
title: "The Commuter"
year: 2018
kind: "film"
canonical: "https://film.one/film/the-commuter"
fi1m_id: "the-commuter"
imdb_id: "tt1590193"
tmdb_id: 399035
wikidata_id: "Q27566067"
fi1m_score: 71
critics_score: 58
critics_reviews: 25
published: "2026-10-05T14:54:32.427907+00:00"
updated: "2026-10-05T14:54:32.923691+00:00"
region: "SE"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# The Commuter (2018)

Directed by Jaume Collet-Serra · 1h 44m · Statens medieråd 15 · Action, Thriller, Mystery

## Identity

The Commuter

- **Canonical:** https://film.one/film/the-commuter
- **Type:** Film
- **Fi1m ID:** the-commuter
- **IMDb ID:** tt1590193
- **TMDB ID:** 399035
- **Wikidata ID:** Q27566067
- **Same entity:** https://www.imdb.com/title/tt1590193/, https://www.themoviedb.org/movie/399035, https://www.wikidata.org/wiki/Q27566067

**Fi1m score: 71** · Critics 58 from 25 reviews

*In a sentence:* Liam Neeson brings admirable seriousness to a train journey no complaints department could adequately address

> Jaume Collet-Serra’s train-bound thriller is enjoyable nonsense, carried by Liam Neeson’s commitment and inventive use of cramped carriages. The conspiracy is harder to follow than it deserves to be, but the action usually earns our patience.

## Synopsis

Michael MacCauley (Liam Neeson) has a family and a regular train journey. His daily routine establishes the commute before it becomes the setting for a mystery, with Joanna (Vera Farmiga) and Walt (Jonathan Banks) among the people around him. Caught in a wrong-man predicament, Michael has to work out what is happening while the journey continues. The carriages put him in close quarters with other passengers and give him little room to manoeuvre. The ordinary details of travelling to work remain in place as suspicion and physical danger take over the train.

## Review

*The Commuter* is an enjoyable thriller with a complicated plot that scarcely rewards the attention it demands. Jaume Collet-Serra understands how much suspense a train full of strangers can provide, and how useful Liam Neeson is when an unlikely situation needs taking seriously. We recommend it if the prospect of close-quarters action appeals more than the promise of a carefully worked-out mystery. At 104 minutes, it has enough purpose and movement to keep its foolishness from becoming a chore.

The opening montage establishes Michael MacCauley’s family life and commuting routine with an economy the later explanations could use. Editor Nicolas De Toth makes these ordinary demands feel like a life already in progress. We warmed to Michael because the montage treats his daily routine as something worth noticing. Before the thriller takes over, there is a recognisable person with recognisable obligations, and that gives the action a useful start.

Paul Cameron’s cinematography keeps finding fresh ways to look through the cramped carriages, so the train never becomes a dull backdrop. A carriage is an awkward place for a fight, and Jaume Collet-Serra uses that awkwardness to make the physical encounters feel consequential. Richard Bridgland’s production design helps preserve the sense of an everyday commuting environment, even when it has to accommodate the action. There is pleasure in seeing a setting used this attentively, with its lack of space giving the performers a practical problem to work around.

Liam Neeson gives Michael a decency that survives the script’s increasingly demanding requests. His seriousness makes the physical jeopardy matter, even when the mystery stops making much sense. Vera Farmiga, as Joanna, and Jonathan Banks, as Walt, bring welcome distinction to a supporting cast too often limited to a single useful characteristic. There is enough acting ability here to suggest fuller lives beyond Michael’s problem, but the film seldom makes room for them, leaving capable performers with little opportunity to surprise us.

The screenplay, by Byron Willinger, Philip de Blasi and Ryan Engle, is much less sure about how to organise its conspiracy. Information arrives with a fuss that makes it seem more rewarding than it proves to be, while complications demand attention without providing much surprise. We can accept an outrageous premise, but the film also needs to make its developing situation comprehensible. Too often, the pace hurries us past a difficulty that the writing has not sorted out.

Nicolas De Toth is more persuasive at keeping the action moving than at making room for the story’s explanations. Roque Baños’s score maintains the urgency, though its contribution is less distinctive than the visual work. The later excess also weakens the pressure that came from keeping the problem simple and the space confined. Among ordinary-man-in-danger thrillers, this earns its place through the care taken over the ordinary man and his surroundings. Choose it for Liam Neeson under pressure; do not expect the conspiracy to withstand much questioning afterwards.

*Fi1m score 71, published 5 October 2026.*

## What the critics say

The reviews are mixed, with a slight lean towards enjoying The Commuter’s familiar action formula despite its strained logic. Praise centres on Liam Neeson’s committed, reassuring presence and Jaume Collet-Serra’s inventive use of the train’s cramped spaces. Supportive critics find that the camerawork, physical fights and steady momentum keep the thriller entertaining. Several also appreciate the opening’s economical attention to ordinary working and family life, which gives the subsequent danger something concrete to disturb.

The disagreement is wide, particularly over whether the action compensates for the plotting. Even favourable reviews acknowledge implausibility, predictability and limited staying power; others find the conspiracy too convoluted to follow and the final act overextended. Vulture values the tactile action and specific commuting details, while The New Yorker finds the violence carelessly choreographed and the drama cynical. Neeson attracts more consistent approval than the script, though enthusiasm for his performance does not always translate into a recommendation.

## Straight answers

**Is The Commuter worth watching?**

*The Commuter* is worth watching for Liam Neeson’s committed performance and inventive close-quarters action; we score it 71 out of 100. We recommend it to thriller fans who enjoy an ordinary man under pressure, though the muddled conspiracy rewards less attention than it demands.

**How long is The Commuter, and what is it rated?**

*The Commuter* runs 1h 44m and is rated 15 by the Statens medieråd in Sweden. It is an action and thriller film.

**Where can I watch The Commuter in Sweden?**

*The Commuter* is streaming on Amazon Prime Video in Sweden, and it is also available to rent from Apple TV and Amazon Prime Video from kr 39.00. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is The Commuter, and is it suitable for children?**

*The Commuter* has a UK 15 certificate and contains close-quarters fights, physical danger and sustained suspense, making it unsuitable for children under 15. The cramped train carriages make the encounters feel consequential; we would steer viewers uneasy with confined-space violence towards something gentler.

**How does The Commuter compare to The Lady Vanishes?**

*The Commuter* offers more emphasis on physical action, while [*The Lady Vanishes*](https://film.one/film/the-lady-vanishes) is our stronger recommendation for a railway mystery, with dry humour and more satisfying plotting. We favour the former for Neeson under pressure in cramped carriages; the latter suits those who want tension, comedy and a mystery that holds together better, despite some fussiness.

**What should I watch after The Commuter?**

After *The Commuter*, try [*The Lady Vanishes*](https://film.one/film/the-lady-vanishes) (1938, Fi1m 88): A train full of suspects, with dry humour and a better-behaved mystery. Then [*A Hard Day*](https://film.one/film/a-hard-day) (2014, Fi1m 79): A policeman’s bad decisions produce an increasingly frantic succession of practical problems.

### Reviews we read (25)

- **Vulture**, Emily Yoshida (85/100, inferred): Yoshida finds the film’s train-bound action surprisingly tactile and more memorable than expected. She especially praises its lovingly specific depiction of commuting and the mundane details that give the thriller its texture. [Read](https://www.vulture.com/2018/01/the-commuter-review.html)
- **Little White Lies**, Elena Lazic (4/4/4): The critic finds the film a total delight and praises its commitment to entertaining, straight-faced action. She singles out the opening sequence and the film’s energetic choreography. [Read](https://lwlies.com/reviews/the-commuter)
- **The AV Club**, Ignatiy Vishnevetsky (B): The review finds the thriller smart, politically astute entertainment, despite a plot that makes little sense in retrospect. It praises Collet-Serra’s inventive camerawork in the train’s cramped spaces. [Read](https://www.avclub.com/if-only-every-january-thriller-were-as-smart-dumb-as-li-1821936245)
- **Slant Magazine**, Carson Lund (3/4): Lund finds the film’s final optimism convincing despite some implausible plot turns. He praises Collet-Serra’s inventive, immersive camerawork and the way it sustains the train-bound paranoia. [Read](https://www.slantmagazine.com/film/the-commuter/)
- **Empire**, David Hughes (70/100, inferred): Hughes calls it a surprisingly enjoyable, forgettable crowd-pleaser whose momentum outweighs its plot holes. He praises Neeson as an engaging, relatable everyman, while faulting the thriller’s implausible logic. [Read](https://www.empireonline.com/movies/reviews/commuter-review/)
- **Los Angeles Times**, Kenneth Turan (70/100, inferred): Turan finds the film an entertaining, if not top-tier, entry in Neeson and Collet-Serra’s action-thriller series. He praises Neeson’s ability to carry the formula and Collet-Serra’s skill at keeping the film moving, despite a far-fetched and confusing plot. [Read](https://www.latimes.com/entertainment/movies/la-et-mn-the-commuter-review-20180111-story.html)
- **The Hollywood Reporter**, Jordan Mintzer (70/100, inferred): Mintzer finds the thriller enjoyable and worth the ride, though ultimately forgettable. He praises its sustained train-bound suspense and a showy, inventive fight sequence that uses the setting effectively. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/commuter-1066038/)
- **Screen Daily**, Sarah Ward (64/100, inferred): The visible standfirst suggests a familiar Liam Neeson and Jaume Collet-Serra setup moved to a new location, but does not reveal the critic’s overall verdict. The review’s specific praise or complaint is unavailable in the paywalled text. [Read](https://www.screendaily.com/reviews/the-commuter-review/5125150.article)
- **Radio Times**, Terry Staunton (3/5): The critic calls it a workmanlike thriller that falls short of the tension in Neeson’s earlier films of this kind. They fault its convoluted plot twists for undermining the narrative. [Read](https://www.radiotimes.com/movie-guide/b-39vftl/the-commuter/)
- **The Guardian**, Steve Rose (3/5): Rose finds it an efficient, enjoyable action thriller, though too familiar and stripped-down to linger in the memory. He particularly praises Liam Neeson’s commanding presence and the film’s inventive camera work aboard the train. [Read](https://www.theguardian.com/film/2018/jan/10/the-commuter-review-liam-neeson-train-thriller)
- **Time Out**, Trevor Johnston (2/5): The critic finds the thriller unsuccessful. The Hitchcockian wrong-man premise is singled out as going wrong. [Read](https://www.timeout.com/movies/the-commuter)
- **Variety**, Guy Lodge (35/100, inferred): Lodge finds the film less enjoyable than the director’s previous action collaborations, though it still offers some transient thrills. He particularly criticizes its breakneck pace for leaving the story and its conspiracy hard to follow. [Read](https://variety.com/2017/film/reviews/the-commuter-review-liam-neeson-1202646190/)
- **The New York Times**, Jeannette Catsoulis (30/100, inferred): The review is negative about the film’s contrived thriller plot. It singles out the increasingly implausible events aboard the train as a key weakness. [Read](https://www.nytimes.com/2018/01/11/movies/the-commuter-review-liam-neeson.html)
- **Evening Standard**, Charlotte O'Sullivan (15/100, inferred): The critic finds the film a cringe-worthy, mostly bad action thriller that is best avoided. She singles out the uniformly excellent acting as a bright spot amid the implausible action and clumsy moments. [Read](https://www.standard.co.uk/culture/film/the-commuter-review-stop-this-crazy-train-i-want-to-get-off-a3744431.html)
- **The New Yorker**, Richard Brody (15/100, inferred): Brody gives the film a sharply negative assessment, calling its action laughable and its drama cynical. He particularly faults the contrived plotting and the director’s failure to observe or choreograph the violence with care. [Read](https://www.newyorker.com/culture/richard-brody/the-commuter-and-critics-distorted-notion-of-the-auteur)
- **Eye for Film**, Angus Wolfe Murray (90/100, inferred): The critic gives the film a strongly positive verdict, calling it a fascinating, edge-of-seat thriller. They single out Liam Neeson’s reliable authenticity, decency and compassion as the film’s great strengths. [Read](https://www.eyeforfilm.co.uk/review/the-commuter-2018-film-review-by-angus-wolfe-murray)
- **Paste**, Andy Crump (7.1): Crump finds the film a goofy, highly enjoyable action thriller, despite its familiar plot structure. He praises its escalating twists and over-the-top set pieces, including Neeson fending off an attacker with an electric guitar. [Read](https://www.pastemagazine.com/movies/liam-neeson/the-commuter)
- **Consequence**, Clint Worthington (75/100, inferred): The critic finds the film a gripping, enjoyable thriller whose escalating pulpiness is easy to forgive despite a predictable mystery and underused supporting cast. They especially praise Collet-Serra’s fluid, well-paced direction and the electric-guitar fight sequence. [Read](https://consequence.net/2018/01/film-review-the-commuter-delivers-b-movie-thrills-at-a-fleet-footed-pace/)
- **The Ringer**, Adam Nayman (75/100, inferred): Nayman praises The Commuter as an inventive, technically accomplished thriller, while noting its predictable plot and overly simple resolution. He especially singles out Collet-Serra’s visual craft and the film’s sustained sense of momentum. [Read](https://www.theringer.com/2018/01/11/movies/liam-neeson-the-commuter-review)
- **The Playlist**, Will Ashton (B-): The critic finds the film an over-the-top, mostly entertaining ride, despite its formulaic script and implausible plot. They praise Collet-Serra’s inventive visual flair and Neeson’s committed performance. [Read](https://staging2.theplaylist.net/the-commuter-review-20180111/)
- **/Film**, Karen Han (6/10): Han finds the film a highly enjoyable, familiar Neeson action vehicle, with the star’s commitment and Jaume Collet-Serra’s direction making the formula work. She praises the tense train-bound action, while criticizing the bloated, unnecessarily theatrical final act. [Read](https://www.slashfilm.com/555571/the-commuter-review/)
- **Deadline**, Pete Hammond (55/100, inferred): Hammond finds the film entertaining for much of its runtime but ultimately forgettable and reliant on familiar action tropes. He praises Neeson’s ability to carry the mystery and action, while noting the supporting roles are one-dimensional. [Read](https://deadline.com/2018/01/the-commuter-review-liam-neeson-vera-farmiga-video-1202242310/)
- **Den of Geek**, Don Kaye (2.5/5): Kaye finds the film a rote, disappointing entry in Neeson and Collet-Serra’s action-thriller collaborations. He praises the opening montage’s economical depiction of family life, but faults the convoluted plot and unconvincing action. [Read](https://www.denofgeek.com/movies/the-commuter-review/)
- **The Wrap**, Alonso Duralde (45/100, inferred): The critic finds the film entertaining at its best but ultimately weighed down by a third-act slowdown. He praises Neeson’s capable action-hero performance, while faulting the delayed explanations and convoluted plotting. [Read](https://www.thewrap.com/the-commuter-film-review-liam-neeson-2018/)
- **HeyUGuys** (25/100, inferred): The critic finds the film an incoherent, frustrating thriller that derails its own story. They praise Jonathan Banks and Vera Farmiga, while faulting the script for constantly changing direction. [Read](https://www.heyuguys.com/the-commuter-review/)

## Details

- **Director:** Jaume Collet-Serra
- **Director:** Jaume Collet-Serra
- **Screenplay:** Byron Willinger, Philip de Blasi, Ryan Engle
- **Story:** Byron Willinger, Philip de Blasi
- **Cinematography:** Paul Cameron
- **Editor:** Nicolas De Toth
- **Music:** Roque Baños
- **Production design:** Richard Bridgland
- **Costume design:** Jill Taylor
- **Producer:** Alex Heineman, Andrew Rona
- **Cast:** Liam Neeson as Michael MacCauley; Patrick Wilson as Alex Murphy; Sam Neill as Captain Hawthorne; Jonathan Banks as Walt; Vera Farmiga as Joanna; Elizabeth McGovern as Karen MacCauley; Killian Scott as Dylan; Shazad Latif as Vince
- **Runtime:** 1h 44m
- **Certificate (Statens medieråd):** 15
- **Release (Sweden):** 12 January 2018
- **Genres:** Action, Thriller, Mystery
- **Budget:** $30 million
- **Box office:** $120 million
- **Trailer:** https://www.youtube.com/watch?v=g1RMoMrr3SM

## Where to watch in Sweden

- Amazon Prime Video: streaming
- Apple TV: rent kr 39.00, hd
- Amazon Prime Video: rent kr 49.00, hd
- Amazon Prime Video: buy kr 99.00, hd
- Apple TV: buy kr 99.00, hd

*Checked 2026-10-05.*

Also available in: AE, AR, AT, AU, BE, BR, CA, CH, CL, CO, CZ, DE, DK, EE, ES, FI, FR, GB, HK, HU, IE, IN, IT, JP, LT, MX, NL, NO, NZ, PA, PT, SE, US. Add `?region=XX` to this URL for another country.

## If you liked this

- *The Narrow Margin* (1952): A compact railway thriller whose plotting is rather more orderly than its passengers.
- *The Lady Vanishes* (1938), Fi1m 88: A train full of suspects, with dry humour and a better-behaved mystery. — [Fi1m page](https://film.one/film/the-lady-vanishes.md)
- *Duel* (1971): Everyday travel turns hostile, with suspense built from almost nothing but pursuit.
- *Sleepless Night* (2011): A confined setting and a desperate lead keep this French thriller moving.
- *A Hard Day* (2014), Fi1m 79: A policeman’s bad decisions produce an increasingly frantic succession of practical problems. — [Fi1m page](https://film.one/film/a-hard-day.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/the-commuter