By Malice Intended

Hollywood no longer runs on “star power”.  Brand names, sequels, prequels and adaptations have become the order of the day.  The dream machine now sells product instead of personalities.  Some of the most popular actors of recent years have seen their bankability plummet after appearing in one too many lackluster films.  It seems as though no one is able to maintain a consistent track record in terms of quality or box office.  That makes for a hostile environment for a star returning from hiatus or self imposed exile.  These days, a misfire is not a luxury that studios can afford. 

Based on the British television series, Edge of Darkness stars Mel Gibson as Boston police detective Thomas Craven.  After his daughter Emma (Bojana Novakovic) is brazenly gunned down in front of him, he embarks on a violent one man crusade to track down her killer.  His methods threaten the interests of Emma’s former employers, the Northmoor Company, whom Emma has uncovered startling information about.

Jack Bennett (Danny Huston), head of Northmoor, hires “shadowy consultant” Darius Jedburgh (Ray Winstone) to clean up the mess and avert Cravens efforts to expose the company’s shady dealings.  As Craven’s campaign against the Northmoor company gradually brings him closer to the truth, the possibility that Jedburgh may have to take him out becomes more likely.

As directed by Martin Campbell, Edge of Darkness is a polished yet uninspired technical exercise.  It has all the hallmarks of an involving thriller, yet it feels hollow and routine.  It seems to have been made with no clear vision in mind. It evokes the feeling of a construction crew slavishly following a blueprint, or a very talented artist opting to paint by the numbers as opposed to allowing his personality to creep into his work

The production values are considerable though not remarkable.  The film looks expensive but indistinct.  This could be seen as an attempt at subtlety; a way to prevent the more superficial and sensational elements of the production from becoming a distraction.  A closer look reveals a lazy production that is content to sit back and coast on the charisma of its star.

The story deals with some intriguing themes, but the meandering screenplay isn’t focused enough to flesh any of the ideas out.  The meandering plot seems to be biding it’s time until something interesting happens.  The dialogue contains the necessary amount of dark humor and tense exchanges, but it is all delivered in the expected manner.  Edge of Darkness makes the fatal mistake of assuming that handling the material in a dark and gritty manner automatically gives it depth.  Any aesthetic approach or nuance becomes mere window dressing if it doesn’t have good writing to support it.

Thus explains the main dilemma of Edge of Darkness.  You can see the story beats coming a mile away.  The film doesn’t even attempt to present the material in a fresh or surprising manner.  No one is asking the filmmakers to reinvent the wheel, but a bit of personality could have been injected into the proceedings.  Edge of Darkness could have been more than a below average run through, but filmmakers play it so safe that they end up sleep walking through the whole thing. 

Mel Gibson is easily the best thing in Edge of Darkness and the only reason to see the film.  He does what he can with the character Thomas craven and manages to salvage it to some degree.  He even affects a Boston accent, the authenticity of which is debatable but it’s so slight as to barely warrant mention.  Ray Winestone radiates quiet menace as Darius Jedburgh.  Danny Huston is about as stock a corrupt businessman as one would be likely to find in a film of this type.  He is more of a character type than an actual character.

Edge of Darkness could very well be the most uninteresting film of Mel Gibson’s career.  It’s pretensions toward seriousness crumble the moment it becomes obvious just how much of an assembly line product it is.  It offers nothing in the way of innovation, genuine interest or narrative focus.  Easily the most disappointing thriller of recent years given the talent involved.

Out of 5

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