Edge of Darkness

Name one movie Mel Gibson has played in where he has a family member taken, killed or injured and then he exacts revenge, fury and/or anger upon the parties responsible.

"Maverick" is the one that comes to mind, but even that had a family angle. "What Women Want" could be another, but Mel's losing his daughter to puberty and growing up, so that, in a sense, counts, too.

But list his largest accomplishments--"Lethal Weapon," "Braveheart," "The Patriot," "Mad Max"--they all feature Gibson as a defender of family.

So when it came time for director Martin Campbell to cast the big-screen adaptation of the BBC miniseries "Edge of Darkness," who you gonna call?

Thomas Craven (Gibson) welcomes his daughter Emma (Bojana Novakovic) home from her government contract job when she is brutally blasted to death on Crave's front porch. Initially reasoning he was the intended bullseye, Thomas begins digging to discover his daughter seems to have been the real target.

What Thomas discovers with prodding of Emma's friends and co-workers, including her boss (Danny Huston), is government and corporations in bed together, covering up any number of things. This brings shadowy operative Jedburgh (Ray Winstone) into the mix, trying to help sweep the murder under the rug while, seemingly, trying to help Thomas by attempting to convince him to not dig deeper.

While watching "Edge of Darkness," one can see where each part of the miniseries stopped before it continued in a day or two. Not having seen the original UK miniseries, I cannot testify accurately at this translation, other than to report the film plays well and turns into a three-act thriller. At the get go, the character development sans action is well-done, considering Campbell's expert work on "Casino Royale," one of (if not, arguably, the) best 007 film to date.

When things shift into the second act, things begin to falter under the sometimes too complex nature of the plot. Thankfully, no subplots are present to confuse. Once that final act kicks in (aka Mel goes crazy vigilante), things pick up, and, for the most part, salvages the movie.

As noted, Gibson seems to have the market cornered on this type of character. Naturally, the discussion of if Mel will be welcomed back into theaters after his DUI arrest and anti-Semitic remarks during the traffic stop is a sticking point. Discussing that in the context of "Edge of Darkness" rests on one question: Should Mel do something what's he's known for or something light and easy to go down?

For some reason, I think of Owen Wilson's alleged suicide attempt a few years ago. Which movie was a better return that got the bad taste out of audiences' mouths: "Drillbit Taylor" or "Marley & Me?"

Regardless, Gibson does do well with the role, albeit accompanied by a shaky Boston accent. He does his best in the film when he's not a raving, angry father. When he's soft-spoken, forlorn and calculating with his decisions and emotions, its all the more believable when he unleashes that. But some actions are unwarranted and questionable. This film tries to replicate the success of last year's "Taken," a better and a lean, more streamlined film.

Winstone, riding relatively high, thanks to "The Departed" and the fourth "Indiana Jones," is satisfactory as Jedburgh. Robert De Niro originally was cast in the role, an interesting choice I would like to have seen, just to satisfy curiosity (he left after only a few days on set due to "creative differences'). Still, Winstone seems to be cornering a market of his own: reliable heavy and sidekick.

"Edge of Darkness" moves like a trio-set story, a gradient from white to black, complimenting the lead's descent into necessary evils.

That gray in the middle is a touch of disappointment. As the Grateful Dead said about "Touch of Grey": "I see you've got your fist out/Say your piece and get out."

Yes, Mel, do your thing and don't drag it out. "Edge of Darkness" is entertaining enough with a walk to the cliff of oblivion just in time to save from falling hard.

Every silver lining has a touch of grey, after all.