Scott Marks 12:30 p.m., July 26
It’s early in the year, so that means it’s time for another Liam Neeson outing in which a lucky co-star will be kidnapped and/or killed in order to set in motion the perennial revenge formula. This time it’s a son who barely survives the credits before his snowplow-driving dad (Neeson) begins lining the road to redemption with corpsicles. Snow blankets the scenery, but it’s a light dusting compared to the tightly-packed supporting characters first-time screenwriter Frank Baldwin culls from Kim Fupz Aakeson’s original. Director Hans Petter Moland was kind enough to remake his own In Order of Disappearance so as to spare Americans the indignity of having to hassle with subtitles. He gifts Neeson with a solidly built, uncharacteristically laugh-laden action/thriller, the best the star’s had to show for himself since the cycle began with Taken. Laura Dern’s grieving wife checks out early, leaving bad guy Tom Bateman ample room to devour the scenery. 2019.