Gibson makes strong return in 'Edge of Darkness'

by Jase Howell

It’s been eight years since Mel Gibson took a starring role in front of the camera, his last being “Signs” in 2002. His choice of a script to get him back on the horse is not greatly surprising, a dark revenge/action flick that can sell him to his fan base as an actor; and director Martin Campbell came up with the perfect vehicle, a remake of the British mini-series “Edge of Darkness,” this time set in the Boston area.

In “Edge of Darkness,” Detective Thomas Craven (Gibson), a single father to an adult daughter, Emma (Bojana Novakovic, “Drag Me to Hell”), who is on a short vacation from her job. After some quick scenes of banter between the two it is quickly evident something is seriously wrong with Emma, but before Tom can get her to the hospital she is gunned down in a violent and bloody scene one would expect from fare starring Gibson.

Being that the killer utters the name “Craven” before firing the fatal shot, the rest of the police force and media assume Tom was the target. After witnessing Emma’s condition, however, Craven suspects otherwise, and after finding a gun in her belongings only becomes more suspicious. This prompts him to act around the office like he was the target, while he secretly pursues his own investigation into everyone she knew, what she did at her intern job and, most importantly, what exactly the company does.

“Edge of Darkness” tries to utilize many facets of drama and action to complete its journey. There is revenge, detective work and conspiracy cover-ups, and some fairly well-enacted drama of loss, but the script by William Monahan (“The Departed”) also makes room for some really juicy moments of dialogue. Danny Huston, playing the CEO of the company Emma worked for, has some interesting if not well-disguised play with Gibson, which all but shouts “I am a very sinister man.” But the best moments are between Craven and the mysterious “problem solver” Jedburgh (Ray Winstone, “The Departed). The scenes reveal a man willing to help Craven, or end his life, depending on how the wind blows. This character is one of the greatest strengths of the film: We don’t know whether he is a good or bad guy, and he, admittedly, doesn’t either.

“Edge of Darkness” is certainly not on the same level as “The Departed” in the crime-drama pantheon, but like Craven it hits more targets than it misses. It was certainly about time to put Mel back in action, and this a pretty solid choice. The script allows for an aging cinematic icon to play the part without going over the top, a la Clint Eastwood’s “Gran Torino.”

Campbell, who worked on “Casino Royale,” is apparently developing a knack for rebooting careers and characters. With this film he keeps enough of the carnage expected without ever going “Death Wish,” like a director such as Tony Scott would have been tempted to do. I can’t draw comparisons to the mini-series, having never viewed it, but while at times not particularly original in its layout, the film draws enough from the performances and slyly engaging dialogue.

“Edge of Darkness” is definitely a worthy picture to rough it into the cold to see, particularly for fans of the original Australian action hero. Though a little older and rougher, like Eastwood, it somewhat suits Gibson’s persona. The really interesting comeback for “The Road Warrior” is yet to come, with his reprisal of Mad Max in “Mad Max 4: Fury Road” now in pre-production.

After seeing “Edge of Darkness,” I think he is definitely heading back from the wastelands and back into movie star relevancy.

This is part of the February 4, 2010 online edition of The Reporter.

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