Nashville Edge of Darkness

Genre: Drama, Suspense/Thriller
Release Date: 01/29/2010
Running Time: 108 mins
Director: Martin Campbell
Cast: Danny Huston, Mel Gibson, Ray Winstone, Shawn Roberts, Peter Hermann, Denis O'Hare, Jay O. Sanders, Caterina Scorsone, Gbenga Akinnagbe, Bojana Novakovic
Producer: Tim Headington, Graham King, Michael Wearing
Writer: William Monahan, Andrew Bovell
Distributor: Warner Bros. Pictures
Offical Site: Click Here
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Box Office

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Shutter Island, 8.1 mil, 108.0 mil
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Avatar, 6.5 mil, 730.3 mil
Brooklyn's Finest, 4.5 mil, 21.5 mil
Cop Out, 4.3 mil, 39.5 mil
The Crazies, 3.7 mil, 33.4 mil

Movie Title, Weekly Earnings, Total Earnings

Edge of Darkness

Over his lengthy career, Mel Gibson’s appeared in revenge movies that were great (Mad Max), good (Ransom), mediocre (The Patriot) and awful (Hamlet), but until now he’d never made one that was pretentious and convoluted. Despite a decent lead effort from Gibson and a solid supporting performance from Ray Winstone (who stepped in after Robert De Niro took a quick look and exited the proceedings) portraying a sinister CIA fixer, director Martin Campbell’s big-screen remake of his 1985 BBC miniseries never comes together as either a gripping vigilante saga or compelling conspiratorial adventure. Gibson plays a Boston homicide detective whose grown daughter is murdered; driven by guilt, he’s propelled into one of those ostentatiously complicated jigsaw-puzzle plots that filmmakers wrongly think constitute complex entertainment — a goulash of nuclear weapons, national security issues and the requisite cover-up and corruption at both local and national levels. These provide an excuse to round up the usual suspects: the shady businessman (Danny Huston), the hapless boy friend (Shawn Roberts), the veteran cop who’s both an ally and enemy (Jay O. Sanders), and various other disposable figures competently played by Gbenga Akinnagbe, Denis O’Hare and David Aaron Baker, among others. But the only time the movie snaps to attention is when Craven begins another head-bashing spree. Though these scenes aren’t as visually arresting or highly choreographed as today’s norm, the Gibson who once lit up the screen occasionally resurfaces here — even if it’s only to fire a shot through someone’s forehead or knee someone in the groin. — Ron Wynn