The Mongoose (2026)

After two decades of doubling for Liam Neeson— from an uncredited turn in 2000’s Gun Shy to the gritty fight scenes of Taken, Ice Road and Cold Pursuit—stunt‑man‑turned‑director Mark Vanselow finally gets his biggest break. Backed by producers Bart Rosenblatt and Al Corley and with Neeson’s full support, Vanselow steps behind the camera for The Mongoose, where the Irish star plays ex‑soldier Ryan “Fang” Flanagan, a veteran who unintentionally steals a cutting‑edge AI‑powered car and sparks a cross‑country chase that even a vengeful Michael Chiklis‑as‑lawman can’t stop. Vanselow’s stunt pedigree shapes the film’s relentless action. He and Neeson lean into close‑combat sequences that let the actor perform as many of his own fights as safety permits, while the high‑tech vehicle itself becomes a character, delivering explosive driving set‑pieces coordinated by stunt chief Chris Weir. The crew worked within tight resources, but the emphasis on practical stunts and the car’s AI personality give the chase a tangible, gritty feel that fans of Neeson’s past blockbusters will recognize. Beyond the adrenaline, The Mongoose weaves a surprisingly thoughtful thread about PTSD and how America treats its veterans. Fang’s trauma fuels his folk‑hero status, rallying other veterans to aid his escape and turning the nationwide manhunt into a commentary on loyalty and redemption. Vanselow hopes the layered storytelling will reward repeat viewings, proving the film is more than just a shiny car tearing down highways. The Mongoose hits theaters on October 30.

Mark Vanselow’s feature‑directorial debut leans on his stunt‑coordinator pedigree, delivering a series of slick Mustang chases that let Neeson’s veteran‑on‑the‑run character roar through Kentucky, Arkansas and Texas. The car work is undeniably the film’s strongest asset, with tight choreography that makes the high‑speed pursuit easy to sit back and enjoy, even if a few hand‑to‑hand beats feel over‑cut. But the thrills are undercut by a script that feels both lazy and nonsensical. A retired captain haunted by a 20‑year‑old Afghanistan capture is thrust into a murder accusation, then flees in a dead man’s car while the plot leans on tired veteran‑patriot tropes and a gimmicky AI‑assistant line about making the car’s phone untraceable. The dialogue and story logic stumble, leaving the audience more likely to laugh at the absurdity than to be moved. Marisa Tomei is the unexpected bright spot, extracting genuine emotion from a thankless role as Ryan’s ex‑wife Tara. Her performance injects a sliver of pathos that the rest of the film struggles to sustain. Meanwhile, the supporting cast—Maurice “Marvel” Meredith, Michael Chiklis, Ving Rhames—adds familiar faces but can’t rescue the material from its lazy shortcuts. In short, The Mongoose is a bad movie that can still be a mildly entertaining ride for viewers willing to suspend disbelief and enjoy the stunt work. It lands at the Venice Film Festival circuit on October 30, offering a brief, adrenaline‑pumped diversion—just don’t expect more than that.

Mark Vanselow’s directorial debut, The Mongoose, drops veteran stunt coordinator Liam Neeson into the driver’s seat of a glossy red Shelby Super Snake. Neeson plays Ryan “Fang” Flanagan, a Special Forces commander who survived a 2005 Afghanistan capture, only to wrestle PTSD and a broken marriage two decades later. When a confrontation at his ex‑wife’s Arkansas home ends in the death of her abusive boyfriend, Fang bolts, his tires slashed, and a cross‑state pursuit ignites. The chase spirals from Arkansas into Texas, with former Marine James Tilton and, later, Major Walter Pope hot on his tail. Fang’s only weapon is a gun left in the car’s glove compartment, and he leans on his old squad members—Tanker and Munch—and the Shelby’s AI assistant, Helene, to scavenge fuel and evade police. Meanwhile, CNN anchor Laura Coates turns the manhunt into 24‑hour coverage, framing Fang as a folk hero and prompting a wave of public support. Vanselow, known for his stunt work on films like The Naked Gun, fills the screen with relentless action, but critics note the film leans heavily on familiar tropes from 1970s exploitation flicks. Ving Rhames and Michael Chiklis add muscle, with Chiklis embracing a villainous role that contrasts the otherwise reverent treatment of the veteran. Marisa Tomei, though given limited material, delivers a standout flashback scene that hints at the lingering pain behind Fang’s “cheerful” façade. While Neeson’s even‑tempered performance makes him easy to root for, the screenplay’s insistence on forcing audience sympathy—rather than earning it—leaves the emotional stakes feeling thin. The film’s flashback structure and on‑screen narration by Coates aim to deepen the backstory, but many reviewers argue they merely delay a conclusion that the hero’s redemption is pre‑ordained, turning a potentially gritty war‑trauma tale into a bland actioner.

Even at 74, the Taken star refuses to hand over the fight choreography to a double. He skips the daily gym grind, opting instead for a"reasonably fit" routine that lets him step into the choreography whenever a script calls for it. Neeson says he’ll ramp up his workouts when a role demands physicality, proving that age isn’t a barrier to on‑screen combat. Director Mark Vanselow, who once served as Neeson’s stunt double, praised the veteran’s willingness to put in the training and stay flexible. Vanselow highlighted how the pair are constantly pushing each other to create fresh, kinetic action, a collaborative spirit that fuels the film’s high‑octane set pieces. Marisa Tomei, who joins Neeson in The Mongoose, revealed that the chance to work alongside the legend was a major draw. She’s excited about the movie’s blend of war‑time trauma, relentless action, and sharp comedy, noting that the script balances intense set‑pieces with witty banter, making the story both entertaining and emotionally resonant.