Martin Campbell
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After five minutes, Mel Gibson's daughter is killed by a hitman, and the cop Mel is distraught because someone who wanted to kill him actually kills his daughter. Everyone believes this version, and the investigation continues in this direction, but the killer specifically wanted to take out Detective Craven's daughter. Why? Because the woman was minding the business of the government company Northmoor, which is specialized in nuclear experiments and the stockpiling of weapons.

Directed by Martin Campbell, a New Zealander who gets a kick out of action for everyone, with "Edge of Darkness," he creates a film seen and re-seen but perfectly enjoyable in the simplicity of its action: an action/police thriller that "acts forward." Mel Gibson wants to know the truth and, as a self-made man of the police, he moves alone to discover the truth. Now, several things repeatedly challenge the suspension of disbelief (and that’s not a good thing), several screenplay choices are of rare simplicity (the already mentioned killer trail targeting the detective that everyone believes), or Gibson himself going against a governmental giant and managing to do whatever he wants: Campbell takes his liberties with realism. That said, "Edge of Darkness" manages its screentime very well, never dragging the action scenes too long, and moving more like a true "old-style" police film rather than a modern shoot-and-break-everything action film. What convinces (and entertains) the most is the choice to make it at times a political film, bringing themes like ecology and, above all, the alienating coercive power of gigantic multinationals that have become more powerful than many states onto the viewer. Northmoor is the emblem of a corrupt world beyond belief, ready to sacrifice human lives to protect the secrets of those who govern us like puppets. The power that cannot be scratched and wins with abuses and lies. Similar cases to those treated in the film can be cited by the dozen around the world.

"Edge of Darkness" is a decent action film with engaged twists, capable of coexisting silliness and reflection without clashing too much. You can have fun.

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