Edge Of Darkness Review: Classified Nonsense

January 29, 2010 by  
Filed under - Home, Film Reviews

edge_of_darkness_main300EDGE OF DARKNESS: On General Release Friday 29th January

There’s nothing like a good action thriller which pits a wronged and usually bereaved central character against a group of nasty government conspirators.

Unfortunately, despite the inclusion of these people by the bucketload, this was nothing like a good action thriller.

Indeed at stages it reminded me of an epically tangled electrical wire: An utterly confusing mess that is impossible to unravel and could have been prevented if someone (anyone) had acted to prevent the situation from becoming so hopeless.

But what was more annoying than the absence of plot progression, the ridiculous lack of character explanation and even the chronic overuse of the word ‘classified’, was the fact that this movie could have been good.

This was the director that brought us Casino Royale on his last shift behind the camera and while he has to take some responsibility for using his ingredients poorly, most of the blame must be placed on the doorstep of those who wrote this TV to film adaptation.

One of whom was The Departed screenwriter William Monahan. Inexplicable.

If there is another thriller in which the audience finds out less than this during the duration, I would definitely (not) like to see it.

When Thomas Craven’s daughter Emma returns from her job at chemical research plant Northmoor to visit him in the suburbs, it seems she has something important to tell him.

Unfortunately she is quickly gunned down on the doorstep which leads Craven (Gibson), who happens to be a Boston detective, to investigate just what she was up to at this dodgy science lab.

As our man starts to dig a little deeper he starts to turn up some interesting information about what was going on there, and why she was scared for her life before she was murdered.

In reality, the viewers are left not so much on the edge of darkness but in total ignorance while Gibson goes around pistol-whipping people that are probably supposed to have some consequence to the storyline.

One such example occurs when he finally finds ‘Robinson’ a highly anticipated contact who worked at Northmoor. Craven simply walks into his house and beats him up, Robinson has no lines – for all we know Craven might have got the wrong address.

Even Ray Winstone in his most ambiguous role yet can bring no sense to proceedings. “Are you going to help me?” Says Gibson.

“I haven’t decided yet…” says Ray, and he doesn’t decide any time soon folks…

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