Cast:Mel Gibson, Ray Winstone, Danny Huston, Bojana Novakovic, Shawn Roberts, David Aaron Baker, Jay O. Sanders, Denis OHare, Damian Young, Caterina Scorsone, Frank Grillo, Wayne Duvall, Gbenga Akinnagbe, Gabrielle Popa, Paul Sparks, Christy Scott Cashma
By moonlight, three bodies float to the surface of the western Massachusetts stretch of the Connecticut river. At South Station, Boston, Thomas Craven (Mel Gibson) picks up his daughter, Emma (Bojana Novakovic), who has returned home to visit. She throws up, while getting into Thomas’ car. At home, as he prepares a meal, Emma starts a nosebleed and vomits violently and as they hurriedly leave to find a hospital, a masked gunman yells, “Craven,” and fires two shotgun blasts at Emma simultaneously. Blasted through the door, she dies in Thomas’ arms.The police believe that Thomas, a police detective, was the gunman’s target, but he thinks otherwise. When he finds Emma had a pistol in her night stand he checks the ownership - it belongs to her boyfriend David (Shawn Roberts). David is frightened of the company Northmoor where Emma worked and Thomas discovers that Emma became aware that Northmoor was manufacturing nuclear weapons, intended to be traced to foreign nations if they are used as dirty bombs. Following the failed break-in of the activists, Emma was poisoned with thallium through a carton of organic milk. Burning her effects in his lawn, Thomas encounters Jedburgh (Ray Winstone), a "consultant" tasked to prevent Craven from discovering Emma’s information, or kill him. Liking each other, instead, Jedburgh leaves Thomas to investigate. Throughout the film, Thomas repeatedly imagines he hears and sees his daughter, even having short conversations and interactions with her.Thomas also has several encounters with Northmoor mercenaries, and he eventually discovers through Emma’s activist contact that Jack Bennett (Danny Huston), head of Northmoor, ordered the murder of his daughter, as well as the activists Emma was working with to steal evidence of the illegal nuclear weapons. Northmoor personnel kill a hitman marked as a fall guy after he is set up for killing Emma’s boyfriend, and attempt to murder another activist who gave Emma’s information to Thomas. After confronting a lawyer and Senator that Emma contacted, revealing that he knows almost everything that happened, Bennett has Northmoor operatives allow Thomas to be poisoned with thallium, as his daughter had been.Thomas, now very sick, arrives at Bennett’s house and kills the mercenaries, one of whom Thomas realizes is the man who shot his daughter. Bennett shoots Thomas, but Thomas tackles Bennett and pulls out the radioactive milk. He forces it down Bennett’s throat and collapses. Bennett runs to his cabinet to get pills to counteract the radioactivity but Tom drags himself over and shoots Bennett through the throat.Thomas is hospitalized for the gunshot wounds and radioactive poisoning. Jedburgh meets with Moore, the Senator and a political advisor. He listens to their suggestions as to how to play the Northmoor incident in a positive light. He tells them that he is done and then suggests an assassination attempt on the Senator should be the feature story, to drive Bennett’s death out of the tabloids. They are happy to go along with the story until Jedburgh tells the senator that he is on the wrong side of the equation. Jedburgh then pulls out his gun and shoots all three men dead before a young Massachusetts State Trooper comes in, gun drawn. Jedburgh gets the drop on the trooper and asks if the young man has a family and kids. The young man says yes and Jedburgh lowers his gun, and is instantly shot and killed by the trooper.As Thomas lies dying in the hospital, we see Emma walk into his room, then lean down at his bedside and whisper in his ear. Across town, a young reporter opens a letter from Thomas with DVDs revealing the conspiracy, with Thomas’ “good luck” wishes. As he dies, Emma comforts him. Then the father and daughter leave the hospital together, walking down the corridor into a bright, white light. Click play to watch samlpe online:
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Edge of Darkness comments / review
Date: 2010-02-17 11:25:56
User: Movie Blogger
As much as I’d like to avoid turning my review of Edge of Darkness into a referendum on the state of Mel Gibson’s career, it’s impossible to discuss the movie without at least acknowledging the baggage its leading man brings with him. It wasn’t always this way; once upon a time (specifically the ’80s and early ’90s) Gibson was the very model of a major movie star. Onscreen and off, he was charismatic and funny and managed to keep his private life out of the tabloids. It didn’t hurt that he mostly picked the right projects too–obviously Lethal Weapon is a modern classic (although the sequels sucked) and you’ve also got the Mad Max movies, The Year of Living Dangerously and his underappreciated version of Hamlet. Gibson’s charm also helped make movies that weren’t so great–like, say, Maverick and Air America–relatively painless to sit through.
But right around the time he won the Oscar for the absurdly overrated Braveheart, Gibson’s mojo started to falter. Starring roles in too many grim movies like Conspiracy Theory and Signs sapped him of his kooky sense of humor, arguably his greatest strength as an actor. Then along came a little movie called The Passion of the Christ, which exposed a side of Gibson he had previously kept under wraps. In the wake of that film’s phenomenal success, whatever demons he had been hiding seemed to take over his life completely, most notably in that ugly DUI arrest in 2006 when he spewed sexist and anti-Semitic insults at the offices that pulled him over. Since then, Gibson has essentially been in career exile and is just now taking his first tentative steps back into mainstream stardom.
On paper, Edge of Darkness must have sounded like a good career move. For one thing, it allows Gibson to once again don the mantle of the angry, revenge-seeking father, a role he previously took on in one of his biggest hits, Ransom. Secondly, it teams him up with director Martin Campbell, a skilled shooter of zippy, big-budget action movies like The Mask of Zorro. Interestingly, Campbell also directed the British miniseries the film is based on, which aired to great acclaim in England in the mid-’80s. That makes Edge of Darkness the second American remake of a British TV-series to arrive on screens in the past year, the other being 2008’s adaptation of State of Play, which I found to be a sturdy two-hour version of an exceptional six-hour story.
Unfortunately, I haven’t seen the original Edge of Darkness so I can’t tell you how the movie compares to its source material. All I can say is that I hope the miniseries lives up to its reputation, because the film version is a dud, devoid of any tension, suspense or good storytelling. The murky plot involves a Boston cop (Gibson) who welcomes home his grown daughter for a visit, only to see her gunned down on his porch by a masked assassin. The police department is operating under the assumption that Gibson was the intended target, but he’s not so sure, instead casting a suspicious eye in the direction of the corporation his daughter worked for. After doing some preliminary investigation (which primarily involves him beating up her boyfriend and glaring menacingly at her former boss, played by Danny Huston) he learns that the company was secretly manufacturing nuclear weapons to sell overseas. His daughter had stumbled upon this information as well and was planning on exposing the crime before she was murdered. Now it’s up to her dad to set this wrong right, although he’s far less interested in dragging the company through the mud than in seeing the men who run it buried six feet under.
This may sound like an odd thing to say given Campbell’s history with this project, but the fatal flaw of Edge of Darkness is a poor match-up of director and material. In the years since the miniseries aired, the filmmaker has gone on to do his best work as a hired hand aboard super-productions like the James Bond series (he helmed two of the best contemporary 007 installments, GoldenEye and Casino Royal), where he’s demonstrated a strong sense of pacing as well as a creative approach to action sequences. On the other hand, his turgid 2003 drama Beyond Borders showed that his skills didn’t necessarily translate across genres, a suspicion confirmed by Edge of Darkness. As written by William Monahan and Andrew Bovell, this is less of a slam-bang action movie and closer to the kind of slow, shadowy conspiracy tale that someone like Sydney Pollack or Alan Pakula might have directed the hell out of during the ’70s. Unfortunately, Campbell can’t seem to get a firm grasp on the script’s rhythms, resulting in a movie that’s plodding and aimless when it should be tense and taut. The director also strands that superb character actor Ray Winstone in a role that seems almost incidental to the main plot–one can only assume that his character’s storyline suffered the most in the translation from small-screen to big screen.
Even if Campbell had proven up to the task, it’s hard to say whether Edge of Darkness would have restored Gibson’s career in one fell swoop. It’s worth noting that the audience I saw the film with was vocally appreciative of his vigilante tactics, bursting into applause every time the actor shot a bad guy or talked trash to a corporate bigwig. For me though, Gibson’s avenging dad routine couldn’t begin to measure up to Liam Neeson’s ferocious interpretation of this same role in last year’s surprise box-office smash, Taken. He seems oddly distracted throughout, as if he’s concentrating so hard on maintaining his broad Boston accent that he can’t completely engage with the character or his co-stars. It’s clear that Gibson will never be the movie star he once was. The question before him now is, what kind of actor does he want to become?
Date: 2010-02-18 00:14:47
User: Travis Miller
I actually liked this movie quite a bit. The copy downloaded here isnt the best quality, but it didnt detract too much. This was one of those movies I watched without expecting too much, and was pleasantly surprised. I think Gibson did a great job with the role, "Ransom" was one of my all-time favorites of his movies, and I think this character was a return to it. Is it oscar-deserving, of course not, but for a first movie back in the spotlight, I think this one was really good
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