Liam Neeson’s action movies have a built-in appeal, whether good (“Taken,” “Run All Night”) or only so-so (“Taken 3”), but “The Commuter” is securely in the good category. It weds all the winning aspects of the Neeson formula to a ticking-clock plot, full of tense moments and gripping sequences. The big innovation of the Neeson formula — the eureka discovery of “Taken” — is that action can work in a big way when presented as a traditional rags to riches story: Guy starts off down, mistreated, misunderstood.

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