Village Voice by Danny King

The director’s stylistic obsessions (harried close-ups of cell-service signal bars) and thematic integrity (witness the overworked 9-to-5 crowd banding together in solidarity) elevate the cheap-paperback plot without tipping the movie over into pomposity.

The Film Stage by Jordan Raup

If Collet-Serra put Neeson on a merry-go-round and added some danger, I’d gladly show up.

The A.V. Club by Ignatiy Vishnevetsky

The Commuter’s script may not be an exercise in fool-proof logic (the actual plot makes almost no sense in retrospect), but its politics are consistent — a rare quality for a contemporary thriller.

San Francisco Chronicle by Mick LaSalle

It weds all the winning aspects of the Neeson formula to a ticking-clock plot, full of tense moments and gripping sequences.

Consequence by Clint Worthington

As the latest installment in what has become its own subgenre at this point, The Commuter serves as a fine example of the kind of tightly-coiled thriller that Neeson and Collet-Serra can do together in their sleep.

The Globe and Mail (Toronto) by Barry Hertz

The man likes a scrap. But he's never had quite as ludicrous, and ludicrously entertaining, a fight as in The Commuter, which is essentially Liam Neeson versus a train.

Slant Magazine by Carson Lund

The final optimism of the film's worldview lands with a conviction that's rare in contemporary Hollywood cinema—a resilience that's strong enough for Liam Neeson to ride out on.

Paste Magazine by Andrew Crump

The Commuter isn’t a tough puzzle to solve, and it veers closely to being obvious at times. But easy, unsubtle, unabashedly masculine action films don’t need nuance as long as they’re this much of a goofy pleasure to watch.

The Hollywood Reporter by Jordan Mintzer

It's a certified B-movie without superheroes or interplanetary travel, drawing its power from a whodunit, race-against-the-clock scenario that plays as if The Lady Vanishes and Strangers on a Train were chopped up and tossed into the blender along with a slab of CGI and a full bottle of Dexedrine.

Los Angeles Times by Kenneth Turan

While it doesn't pay to think too hard about the plot, after four of these films, director Collet-Serra, shooting here on a 30-ton set put together from authentic discarded railroad scrap, is an expert, so to speak, at making this kind of train run on time.

TheWrap by Alonso Duralde

Collet-Serra’s fourth team-up with Neeson, The Commuter, represents neither man’s finest work, but at its best, it suggests the snap and fun they’ve brought us before.

Movie Nation by Roger Moore

An action picture whose aging hero we care about and root for, a thriller with tension and style, a B-movie Hitchcock would have been happy to call his own.

New York Daily News by Joe Dziemianowicz

As it speeds along, the film delivers its share of popcorn-style entertainment, curves and thrills. But it stalls due to plot holes and murky storytelling, willful inaccuracies (like an invented Upper East side train station), wasted talent and conductor’s cap tips to better railway-based movies like “Strangers on a Train,” “The Fugitive” and “Unstoppable.”

The Guardian

Perhaps you can’t ask too much from a modest, mid-range crowd-pleaser like this, but the experience ends up something like a commuter service itself: you know where it’s going and it gets you there perfectly well, but in a few years’ time you’d be hard pressed to distinguish it from dozens of similar journeys.

Variety by Guy Lodge

The Commuter’s breakneck incoherence — not to mention a generally dour demeanor, shorter on incidental humor than most of the helmer’s work — makes it a notch less fun than those previous ex-trash-aganzas.

Screen Daily by Sarah Ward

What The Commuter lacks in nuance, depth, surprises, logic and serviceable dialogue...it can’t make up for in its effective single-location tension or well-choreographed action, though both rank among the film’s modest highlights.

Screen International by Sarah Ward

What The Commuter lacks in nuance, depth, surprises, logic and serviceable dialogue...it can’t make up for in its effective single-location tension or well-choreographed action, though both rank among the film’s modest highlights.

IndieWire by David Ehrlich

This may be a forgettable movie about the forgotten man — a blue-collar morality play disguised as a very contrived hostage crisis — but at least it’s shlock with something on its mind.

Time Out by Trevor Johnston

It’s a zingy set-up but just as quickly, it hits the skids.