It’s inevitable that In the Land of Saints and Sinners will be compared to Martin McDonagh’s Oscar-nominated dark comedy The Banshees of Inisherin.
Both are set on the Irish coast, where the locals have to either contend with the never-ending greenery of its hills or the howling wind off the Atlantic. More than that, a local pub is the main backdrop, with the leading characters become increasingly violent in the pursuit of revenge, while the two films also star Kerry Condon.
Unfortunately for In the Land of Saints and Sinners, that’s where the comparisons between the films end. The action thriller lacks the thematic depth or complexity of its predecessor and instead unfolds in a predictable fashion.
Set in Northern Ireland in 1974, the film opens with IRA freedom fighter Doireann McCann (Condon) and three other associates planting a car bomb. When three children and their mother die in the explosion, McCann and her gang seek out refuge in the tiny coastal town of Glencolmcille.
This is also the home of Finbar Murphy (Liam Neeson), a widower who is seemingly living a quiet and normal life with his neighbour Rita (Niamh Cusack) and his best friend Vince (Ciaran Hinds) for company. Little do they know, though, that Murphy is actually an assassin for local crime boss Robert McQue (Colm Meaney).
Murphy is intent on retiring and living out the rest of his years peacefully as a gardener. But the sudden appearance of McCann and her treatment of local barmaid Sinead (Sarah Greene) and her family, causes him to reconsider. When the bullets start to fly and blood is shed, Murphy and McCann find themselves on a collision course.
Even though he’s now 71, Neeson is still able to incorporate a genuine edge to his avuncular persona. That means you’re never quite sure if he’s going to hug or punch the person he’s sharing a scene with. At the same time, Neeson’s past roles – and even the tragedies he’s experienced in real life – bring a haunting presence to Murphy that adds an emotional weight to the film that it doesn’t deserve.
While Neeson delivers a stirring leading performance, Condon surprisingly struggles as the villainous McCann. Arguably the standout performer in The Banshees of Inisherin – rightfully rewarded with a Best Supporting Actress Oscar nomination for her turn – Condon initially doesn’t have the tenacity or menace to make McCann feel threatening.
The longer In the Land of Saints and Sinners goes on, though, the more she finds her footing as the character. By the time of its explosive finale, Condon and Neeson have actually managed to create a buzz that sadly the film doesn’t deliver on.
Special praise should also be reserved for Jack Gleeson, as the former Game Of Thrones star brings a fascinating eccentricity to his annoying character that makes him likeable and relatable.
Behind the camera, director Robert Lorenz and his cinematographer Tom Stern are able to highlight the beauty, brutality and loneliness of the locations when required. Lorenz also deploys a nice pace to the film’s 100-minute running time that stops it from ever becoming a complete bore, while the Baldenweg siblings’ compulsive score helps, too.
It’s Mark Michael McNally and Terry Loane’s screenplay for In the Land of Saints and Sinners that holds it back. To begin with, there are too many characters. It also doesn't help that the plot is needlessly convoluted. Then, even when they manage to set up intriguing scenarios and conflicts, you’re left mostly underwhelmed by what they do with them.
There are some enjoyable and appealing aspects to In the Land of Saints and Sinners. But, by the end, it just tries to pack in too much, when a simpler approach would have made it at least satisfying. Instead, it’s instantly forgettable.
