The plot involves nuclear research, 'dirty bombs', shady covert government ops, and enough cover-ups and cabals to make Watergate look like a well staged robbery. But it's all just a means to get Gibson up on his feet and running around, craggy faced and focused, uncovering clues with his fists and his firearms. Director Martin Campbell, most famous for reinventing James Bond as a steely man of action in Casino Royale, actually worked on the original British show, so you'd think he'd have a fine handle on the material. That's not always the case. When he stays with the stuntwork, he's fine. When he evokes the narrative's more ethereal elements, Edge of Darkness falls flat.
For example, Craven constantly 'sees' his daughter (usually as a small child), the hallucinations obviously part of the grieving/healing process. They have minor conversations, remembering daddy-daughter moments and shared special experiences. The first time it occurs, we more or less let it slide. After all, this dedicated cop has just seen his loved one blown to bits by a sawed off shotgun. He still has her blood on his face. But as the thriller mechanics start falling into place and Campbell strives to create a bit of suspense and tension, these asides fail to deliver any genuine emotional tug, instead playing like unnecessary breaks between car chases.
What we want is something like Ransom or Payback -- madman Mel with a gun and nothing left to lose -- but the film seems determined to undermine those expectations. Take Ray Winstone's dying dandy assassin, Jedburgh. At first glance, he appears to be a no-nonsense killer with enough wits and wherewithal to outfox even the smartest CIA drone. As the movie meanders, however, he turns insular and wistful, more or less guiding Gibson in the directions he needs to go. Like the illustrated memories that Craven experiences, Jedburgh's casual monologues stop Edge of Darkness dead in its tracks.
Luckily, Danny Huston is along to give his calculating corporate villain enough nastiness to really get us hissing. As stated before, the 'why' of what's going on is more or less meaningless. It's spoken of in such ambiguous terms that it might as well be a scheme to undermine the annual sale of Girl Scout cookies. But Huston gives it heft, enough that we really want to see him pay. The showdown with Gibson almost singlehandedly saves the movie -- almost.
Gibson proves that he still has the chops to carry a major Hollywood motion picture. His performance is thoughtful, intense, aggressive, and loaded with nuance. Without him, Edge of Darkness would be trivial. With him, we get occasional sizzle and enough star power to guide us through the creaky bits. While it takes its time getting started and suffers from Campbell's inconsistent approach, this is still a fine, if flawed, mainstream entertainment.
