The Naked Gun (2025)

Director: Akiva Schaffer
Starring: Liam Neeson, Pamela Anderson, Paul Walter Hauser, Danny Huston, CCH Pounder, Kevin Durand, Liza Koshy, Eddie Yu, Moses Jones, Cody Rhodes, Busta Rhymes, Dave Bautista, "Weird Al" Yankovic 
Running Time: 85 min.
Rating: PG-13

★★★ (out of ★★★★) 

What's immediately obvious in the opening minutes of co-writer/director Akiva Schaffer's sequel to the classic 80's and 90's Naked Gun comedy franchise is that he understands the assignment. And by successfully translating that same style of humor into the current era, the film doesn't let up for a second, bombarding us with an avalanche of jokes and sight gags that rarely miss during the entirety of its surprisingly tight 85 minutes. 

None of it's easy for any comedy to do, much less one based on a decades old movie adapted from a far older, even less known TV series. But in the spirit of those, this masters the lost art of playing it straight, as the best spoofs always have. Beating viewers into exhaustion before they can come up for air is a good problem to have, especially considering the concerns a promising trailer may have given its funniest bits away. As it turns out, that preview was an ideal tease, barely scratching the surface of the ensuing hilarity we'd get.

When LAPD Lieutenant Frank Drebin Jr. (Liam Neeson) attempts to thwart a bank robbery, his risky law enforcement methods get him reassigned to work alongside Capt. Ed Hocken Jr. (Paul Walter Hauser) investigating a fatal car crash involving software engineer Simon Davenport. After initially ruling the death a suicide, Frank's confronted by Simon's crime novelist sister Beth (Pamela Anderson), who suspects foul play and urges him to dig deeper, despite his noticeable doubts. 

Following the evidence, Frank questions Simon's wealthy boss and Edentech CEO Richard Cane (Danny Huston), prompting suspicions that the bank robbery and car crash could be linked. But as Frank and Beth grow closer, Cane sets the wheels set in motion for an over-the-top plan involving a device capable of reverting the population back to their primitive states so billionaires can rule the world. Now with the clock rapidly ticking, Frank and Beth must work together to somehow foil Cane's scheme before it's too late.

It's a pretty good sign when you're already in stitches after the opening sequence, an action packed robbery during which a valuable lockbox is opened to reveal the hilariously named electronic P.L.O.T. (Primordial Law of Toughness) device. And as we get our first dose of Neeson's physical comedy chops and deadpan delivery, it's obvious a lesser script would probably try to explain Frank Jr.'s relationship with his late father or maybe even include clips from the original. Schaffer isn't interested in any of that, instead wisely mocking that detail and an entire department of legacy hires in a gut busting moment before moving on.  

With each succeeding scene, Neeson proves equipped at filling Nielsen's shoes, gamely tackling this material no differently than he would the high octane thrillers he's built his reputation headlining. And already clever lines play only seem that much goofier when delivered in his gruff, no-nonsense tone. Though it's hard to cite every highlight, a running visual gag involving coffee and some unfortunate body cam footage of Frank's lunch break have to rank up there, along with a hysterical romantic weekend getaway involving him, Beth and a maniacal snowman. 

Pamela Anderson continues her career renaissance as the ideal onscreen partner for Neeson, keeping pace with him as the pair encounter one absurd situation after another. If her role recalls Priscilla Presley's, that's not a drawback since Anderson's better at it, sharing effortless chemistry with Neeson as she dives headfirst into the silliness required of her. And with all the sneering, cerebral menace he displays in his villainous turns, Danny Huston earns huge laughs doing it in a different context as psychotic billionaire Cane. There are also a handful of brief cameos that really hit the mark, mainly because the filmmakers don't overdue it, getting the most out of these appearances by utilizing them at opportune times.

Even when the plot seems to run out of gas in the third act it hardly matters since the jokes still hit hard right up to and including the final credits. Of course, this wouldn't be possible without Neeson, whose unflappable performance not only does Nielsen's outings proud, but proves "reboots" or "sequels" don't have to be dirty words. And unlike the recent Happy Gilmore 2, this doesn't abandon the original's rowdy attitude for a kinder, gentler trip down memory lane. Schaffer knows exactly what The Naked Gun should be and makes good on that promise, likely pleasing fans worried how this would turn out.                                                                

Yellowstone (Seasons 1 and 2)

Creators: Taylor Sheridan and John Linson

Starring: Kevin Costner, Luke Grimes, Kelly Reilly, Wes Bentley Cole Hauser, Kelsey Asbille, Brecken Merrill, Jefferson White, Danny Huston, Gil Birmingham, Ian Bohen, Denim Richards, Forrie J. Smith, Wendy Moniz, Ryan Bingham, Michael Nouri, Gretchen Mol, Josh Lucas, Neal McDonough, Terry Serpico

Original Airdate: 2018-2019

 
★★★★ (out of ★★★★) 

It's become almost a cliché to call a any overlooked series "the best show you're not watching," but in the case of the Paramount Network's Yellowstone it's an especially odd designation given that it's steadily become cable's most watched drama. It isn't overlooked as much as just critically underappreciated, since you hardly hear anyone talking about it nearly as much as they should. Or maybe, the show's quality just speaks for itself in a streaming era where everything has strong buzz for a week or two before fading from the public consciousness. Having premiered in 2018 and just wrapped its third season, Taylor Sheridan and John Linson's modern-day western focusing on a family-owned cattle ranch in Montana has quietly solidified its staying power by delivering some of TV's best storytelling.

A throwback in every sense, the series gives the legendary, long underrated Kevin Costner the role of his career, if not necessarily an unexpected one, given the actor's rich, on screen experience in this genre. While joining a long line of recent television anti-heroes, it still seems like the part he's been preparing for decades to play if only he was a given the chance. Now, with a character he can really sink his teeth into, that opportunity's finally here.

 

The Dances with Wolves, Waterworld and The Postman star casts a John Wayne-like presence over the proceedings as the show's grounding force, accompanied by a supporting cast that's just as strong, unspooling this family's story at a rapid but controlled pace that has you on pins and needles awaiting how the next threat or betrayal that takes everything in an entirely new direction. That old adage that you don't choose your relatives has never been more apt, with each having wildly competing, often selfish motivations that are not only tearing this unit apart from the inside, but frequently placing them in the line of fire, both literally and figuratively.

Set against a Montana landscape majestically shot by Beasts of the Southern Wild cinematographer Ben Richardson, the push and pull between those who want to protect the integrity and heritage of the land and developers looking to cash in with massive commercialization projects is a constant theme. But on either side, motivations are rarely what they appear, even as the show navigates the plight of Native Americans who still must deal with the ugliness of discrimination. In the narrative tapestry Sheridan weaves, life is a vicious cycle wherein the more things change, the more they'll stay the same. Until they don't.

Family patriarch and Bazemore's influencial, respected Livestock Commissioner, John Dutton (Costner) controls and operates Dutton Yellowstone Ranch, the largest of its type in the country, ruling over his family and employees with an iron fist. His oldest son Lee (David Annable) is a Montana Livestock agent while also working as the ranch's head of security. Youngest son Kayce (Luke Grimes) is a former Navy SEAL estranged from his father after leaving to live on a Native American reservation with wife, Monica (Kelsey Asbille) and their young son Tate (Brecken Merrill).

John's daughter Beth (Kelly Reilly) is a feisty, foul-mouthed alcoholic financier emotionally scarred from guilt over their mother's accidental death over twenty years earlier, as well as other traumatizing childhood events. She's extremely loyal to her father while and has been in and out of a relationship with the ranch's foreman and John's right-hand man, the intense Rip Wheeler (Cole Hauser).

Jamie (Wes Bentley) is the family's attorney and aspiring politician, but also the black sheep, torn between his unhealthy obsession with winning his father's respect and his increasing discomfort with the way the Duttons illegally conduct business. He's also the subject of sister Beth's hatred and scorn, as the two siblings are embroiled in a blood feud that frequently erupts in verbal and physical confrontations, during which she frequently gets the better of him.

The threats to the ranch come from all sides, as Chief Thomas Rainwater (an appropriately stoic Gil Birmingham) is determined to take back what he believes is stolen land for the Native Americans who originally inhabited it, planning to expand the reservation to include a casino. Meanwhile, billionaire land developer Dan Jenkins (Danny Huston), wants to drive the Duttons out, and isn't above resorting to threats and illegal activities to achieve his goal. From the series' opening scene we see the levels he's willing to sink to destroy John, proving he hasn't done his homework on the man who wields enough power in Montana to have both the state's entire police department and its governor, Lynelle Perry (Wendy Moniz) in his pocket. That is if he can trust them, or even his own family.

The Duttons are immediately rocked by tragedy, as the war over land and cattle leads to the death of oldest son, Lee, with Kayce caught right in the middle. Torn between his loyalty to Native American wife Monica and their son, he realizes the battle lines have been drawn and he may have to leave the reservation to return "home" to his estranged father, whether he wants to or not. Or at least before people start making assumptions about his allegiances. 

 

This inner struggle drives Kayce's arc throughout these twenty episodes, resenting his dad for disowning him when he had a child with Monica, while also realizing his ties to the family ranch give his young son Tate the best shot at a secure future. But it isn't necessarily a safe one, which causes a massive rift in his relationship with Monica, who already feels like an outsider due to her heritage. 

Like Kayce, Monica's prideful and stubborn, justifiably unwilling to take handouts or help from anyone, especially father-in-law John, whose initial objection to their union was well-documented. The feeling that as viewers we've been tossed into a story that's already logged in years (if not decades) is perhaps the series' greatest attribute, allowing us to gradually form judgments about these characters based as much on their current actions as their tangled histories. The relationship between Kayce and Monica burns slowly in that regard, with Grimes and Asbille bringing an understated power to their roles, as their story shifts and surprises with each new, seemingly insurmountable challenge.

 

At least on the surface, Costner projects John Dutton as a laid-back, easygoing guy who puts family first, which of course sharply contrasts with the meglomaniacal tyrant everyone views him as. Or does it? With this complicated individual, many things can all be true at once, with the actor proving himself brilliantly adaptable at summoning up all these various facets of his personality, the layers of which are continuously being peeled away. Full of complexities and contradictions, he'd just as easily blackmail or murder anyone that crosses him or his family as he would spend the day fishing with his grandson. 

 

Having his world turn upside down following the the death of wife, Evelyn, John's had rough, unexpected on-the-job training as a single dad, the results of which his adult children are still experiencing the fallout from. A reconciliation with Kayce and a chance to bond with young Tate feels like his way of making amends and reclaiming, and therefore extending, his family legacy.

 

As resistant as the angry but quietly noble Kayce is to returning to the fold, he's still easily the stablest of the siblings, if not necessarily the most loved. That designation easily goes to "daddy's little girl" Beth, who's had to live for years feeling responsible for her mom's death and the family setbacks that followed, uses older brother Jamie as her punching bag, letting all her rage out on him for reasons that won't be fully revealed until later. 

 

Kelly Reilly plays Beth as a fearless, take no prisoners pariah, who's more than happy to let Jamie know how worthless he is, or threaten anyone who even thinks they're taking this land. In playing the series' most exciting wildcard, Reilly rarely engages in the types of choices that would brand the character as a strictly one-dimensional psychopath. Like Bentley, she has moments where it's not clear whether we're looking at a grown adult or scared little girl still reeling from the fallout of her mother's death. And because of the circumstances surrounding that, she's had as tough a time coping as anyone, including her father. And besides constantly drinking herself into a stupor, she's taking it out on anyone and everyone who dare come near her daddy's ranch.  

 

Wes Bentley's performance as Jamie really is something else, as the actor primarily known for his acclaimed supporting work as the disaffected teen neighbor in American Beauty over twenty years ago completely reinvents himself here as weak, petulant man-child Jamie Dutton. Since receding from the spotlight, he's taken many parts since, but this feels like a full-fledged comeback for an actor whose low-key intensity is exploited to maximum effect. The harder this outcast tries live up to his dad's expectations, the more spectacularly he seems to fail, as evident during his clumsy pursuit of the state's Attorney General position, further establishing him as the family's expendable pawn. 

 

If only Jamie's heart or conscience was able to go along with it, as he's constantly attempting to take the moral high ground in the face of their illegal activities, all while denying himself the strength to avoid getting sucked back in. Bentley's so skilled at conveying fear and insecurity you can almost literally feel the character's nerves every time he's sharing air space with his dad or sister, both of whom reap a certain satisfaction from bullying a willing doormat. Even they start to realize he's so self concious that his intended help often puts everyone in danger's path. The sight of this grown man running and hiding from his father and kicked in the crotch by his adult sister should be a bad joke, if only it was, and Bentley didn't bring a sort of tragic pathos to the role that almost makes you sympathize with him. His future was carved out a while ago, molding him into the dysfunctionally stunted dope he's become. 

 

Unable to take a stand or make any kind of firm decision, Jamie's even taken advantage of by his girlfriend and campaign manager Christina (Katherine Cunningham), who's more intrigued by what he could potentially do for her than the man himself. But "potential" is Jamie's most dreaded word, as we discover in the second season the pathetic lengths he's willing to go to please his disapproving dad, mainly due to fear of how badly he'd falter on his own.

 

If Kayce and Rip comprise the muscles of the ranch operation then Beth is often that, plus the brains, consistently proving herself as not only the most dangerous and reckless of the Dutton clan, but the most cunning. Her relationship with Cole Hauser's Rip is among the show's more fascinating aspects, as are the wisely parsed out flashbacks depicting his arrival on the ranch as a troubled teen taken in by John and falling for the rebellious Beth. At first, it's tough to get a read on him, but with each passing episode his tough, humorless exterior gives way to the humanity underneath, with Cole Hauser expertly navigating all of it.

 

Sheridan's impactfully placed use of flashbacks accomplish exactly what's needed to enhance the present-day story. In his hands, it's not a device, but rather an essential, completely organic extension of the show's character building that never overstays its welcome. It also features some good, believable performances from Josh Lucas and Gretchen Mol as young John and Evelyn Dutton and Kylie Rogers and Kyle Red Silverstein as the teen Beth and Rip. Toward the end of season two, there's a flashback with Costner as John opposite the great Dabney Coleman as his dying father, John Sr., that's probably the most beautifully shot and performed piece of storytelling the show's done, emotionally but subtly cutting to the core of the legacies and bonds forged between fathers and sons through the generations.   

Violence is a big part of this world, often graphically depicted, but to the series' benefit because so much of it feels true to the environment these characters have inhabited their entire lives. Slick California billionaire Dan Jenkins thinks the Dutton Ranch is his for the taking, gravely underestimating the lengths this family will go to keep it, especially Beth, who plays him like a fiddle. Dan's business partnership with Chief Rainwater (whose motives at least don't seem as outwardly slimy) are similarly driven by profit and expansion, even as he realizes the trust of his people are at stake with a move that's drawing as much skepticism as praise from his contingency, still unjustly viewed as expendable. 

 

But the the most dangerous threat to all comes from Malcolm Beck (Neil McDonough), a ruthless businessman who, along with his brother Teal (Terry Serpico) intimidates and threatens to get in on the action, in the process crossing a line you don't dare go near with the Duttons. The result is an altercation with Beth and his men that should have netted Kelly Reilly an Emmy, as she delivers a painfully realistic, gut-wrenching performance as Beth fights for her life, emerging on the other side permanently scarred and changed from the experience.     

Far from exclusively peddling in gloom and doom, much humor comes from the supporting players, or more accurately, John Dutton's ragtag crew of rotating ranch hands taking up residence at Yellowstone. Jimmy Hurdstrom (Jefferson White) is among the most memorable, given an arc that isn't entirely dissimilar to Breaking Bad's Jesse Pinkman in that he starts as a low level, Eminem-looking thug whose criminal screw-ups land him on the ranch. 

The butt of nearly all the show's jokes, Jimmy's evolution toward becoming both competent at his job (and even at one point a successful rodeo star) mark one of the show's more fascinating character trajectories, growing into someone viewers can truly like and root for. Even as we worry what ridiculous predicament he'll find himself in next. But Sheridan balances that aspect nicely with the deadly serious code that comes with a job that most literally has you branded for life. Once you're in, there's no way out, unless you plan on taking a trip to the proverbial "train station," courtesy of Rip and senior rancher Lloyd (Forrie J. Smith). 

Someone who soon uncovers the trappings of working at Dutton Yellowstone and wants to fight that system is Walker (singer-songwriter Ryan Bingham) a guitar-toting ex-con frequently clashing with Rip, who recruited him upon his release from prision. It's a decision he quickly regrets, as their explosive, slowly simmering feud makes for one the show's more compelling sub-plots, revealing so much about what both men stand for. 

 

In addition to Bingham's contributions to the show's soundtrack (further complimented by Brian Tyler's memorable score and music from Costner's own band, Modern West), he's a calm, steady screen presence who exudes laid-back cool, delivering one of the series' most slyly effective supporting turns and emerging as the perfect opponent for a tightly wound, trigger-tempered Rip. 

Timely as ever, the series may as well be a microcosm of America and the problems currently facing what's become an increasingly divided and fractured country, with the Duttons representing us at both our best and worst. Unfalteringly loyal but reprehensibly corrupt, the family lives in a world where favors and people can always be bought, while still frequently finding themselves on the receiving end of those operating at a moral level far lower than theirs. At his worst, John Dutton is beholden to his own strict honor code, even if it's one that sometimes makes sense only to him, and makes few concessions for anyone in its way. 

 

Like a much harder-hitting Dallas mixed with the finest of Costner's own westerns like Wyatt Earp and Open Range, the series isn't only a narrative accomplishment, but a marvel to look at, starting with an iconic opening credit sequence and theme that already feels like a modern classic, calling back to a TV era when shows were took the task of crafting their lengthy intros as seriously as the material itself. Yellowstone is about survival, and the extraordinarily destructive and sometimes surprisingly caring lengths all these characters will go to do that. Sins and mistakes pass down from one generation to the next, but at the end of day all that's left of any family is its legacy. And the Duttons will stop at nothing to fiercely protect theirs.  

Wonder Woman

Director: Patty Jenkins
Starring: Gal Gadot, Chris Pine, Robin Wright, Danny Huston, David Thewlis, Connie Nielsen, Elena Anaya, Lucy Davis, Saïd Taghmaoui, Ewen Bremner, Eugene Brave Rock, Lisa Loven Kongsli
Running Time: 141 min.
Rating: PG-13

★★★ (out of ★★★★)

Of all the superheroes that have made it to the big screen, whether it be Marvel, DC or otherwise, it's the role of Wonder Woman that's been hardest to cast. That we've gone literally decades without a film dedicated to the character, as numerous incarnations of the project stalled in pre-production, speaks to this difficulty. There must be a vault somewhere of all the unproduced scripts and lists of potential actresses rumored to follow TV's Lynda Carter in the highly coveted role, one that doesn't come with the built-in benefits accompanying Batman, Superman, Spider-Man, or even James Bond and Indiana Jones. All those franchises will continue no matter who plays the character, as disastrous selections have demonstrated. They can be rebooted, remade, prequeled and sequeled to death because no one person is bigger than the character or property itself. Wonder Woman is different.

When Patty Jenkins' Wonder Woman got the greenlight, it was all but guaranteed we'd never get another one if it didn't do well. Just look at how long it took to get this. And while there would be plenty of blame to go around, we all know who the public would point fingers at: Whoever plays her. It may be the only case where a really terrible film could be made, but as long as they got the casting right, everything else would be forgiven and it would rule the box office. The primary audience for these types of movies have always been young male fanboys with strong opinions on how the actress playing her should look, talk and act. And they're more than willing to tell you that no one will ever be good enough. While it's true every iconic pop culture character carries similar baggage to some extent, none have bared the burden quite like Wonder Woman.

Leave it up to DC to give the superhero with the roughest road to the big screen an introduction that does feel a little different, not to mention overdue. While it seems as if some actual thought and vision went into this, it does come back around again to the casting, as we knew it would. Somehow, they found an actress who personifies Wonder Woman in every possible way and then actually bothered to surround and support her with a worthwhile film that uses its content to reach an audience far beyond what was considered possible for the character. In other words, they nailed it. And while it's not without certain problems, it's nice to report for a change that there isn't a laundry list of them.

Diana, daughter of Amazon Queen Hippolyta (Connie Nielsen) was born and raised on the hidden island of Themyscira, as a member of a race of warrior women Zeus created to protect mankind. But this doesn't sit well with his son, the angry and jealous Ares, who vows to obliterate humanity, nearly succeeding before being run off by his father. Anticipating Ares' eventual return, Zeus leaves the Amazon women a secret weapon known as the "Godkiller," which could potentially defeat him. Despite Hippolyta forbidding it, a young Diana is secretly trained by her aunt, Antiope (Robin Wright), until her mother eventually relents.

Under the right guidance, Diana grows up to become a fierce warrior woman (Gal Gadot) whose life is interrupted when American pilot and Allied spy Steve Trevor's (Chris Pine) plane crashes off the coast of Themyscira and she rescues him. Hearing of the war and believing it to be the work of Ares, Diana leaves home and joins Trevor in his attempt to stop German General Ludendorff (Danny Huston), who's chemist Isabel Maru (Elena Ayaya), aka "Dr. Poison," is engineering a deadly new form of mustard gas to end the war. Trevor recruits his own ragtag team of misfits to stop them, but it's Diana, armed with lasso, sword and shield, who proves to be their greatest asset, realizing the full extent of her powers to incite change in a world overcome with turmoil.

It's become commonplace to dread the first half-hour to forty minutes of a superhero film where an"origin story" is inflicted upon us. These extended (sometimes neverending) prologues are often ridiculously acted, give audiences information they already know or don't need, and frequently feature distractingly awful CGI. At times it feels like they're just there to pad the running time rather than to give viewers an actual connection to the story or its characters, with Marvel's Thor being the most glaring recent example of these offenses.

Monster director Patty Jenkins gets it right with an origin story that doesn't feel like a complete drag. It helps that aside from the character's recent, well-received Batman v. Superman appearance, she's relatively fresh and untainted from previous incarnations or big screen outings, making her the only remaining superhero that could possibly feel "new" to this generation. But that doesn't take away from everything Jenkins does really well in introducing this character, like keeping things simple. Or competently staging battle scenes that more closely resemble live-action, freeze frame murals or paintings than the overstylized, overedited effects we're used to getting in war porn like the 300 films.

The first sign that Allan Heinberg's script is truly working comes with the death a character early that we really shouldn't have any business caring about, but do, since their importance and connection to Diana was well established within the first twenty minutes, informing each lap of her journey going forward. When Steve Trevor crash lands and Diana makes the sacrifice to leave her people in pursuit of a greater good, we're there, fully invested in seeing her reaction to being thrown into an entirely new world.

It's a surprise just how much the script exploits both dramatic and comedic possibilities of this fish-out-of-water narrative, immeasurably aided by the chemistry between Gadot and Pine, with the latter conveying a likability and comedic delivery rarely displayed in his previous roles. And unlike most recent entries in the genre hampered by goofiness, the humor works for rather than against the more serious aspects of the narrative.

There's a feeling that the actors aren't just phoning it in for a big superhero payday or that this merely serves as an advertisement for a future series of films or spin-offs. While we know there undoubtedly will be and the term "Extended Universe" still very much exists and applies, other than a brief nod bookending the opening and closing, Jenkins focuses entirely on the task at hand. It's especially a relief to not be "treated" to a pointless post-credits scene for purely commercial purposes. For a change, all the energy does seem completely channeled into this project, with so much of it provided by the performer chosen for the allegedly uncastable title role.

Leaving any irrelevant concerns about her accent, physique or acting qualifications in the dust, Israeli actress Gal Gadot simply assumes the mantle of Wonder Woman from the moment she first appears. Not only does she look the part when judged against any previous incarnation of the character, but she's believable as a badass fighting machine, while also managing to convey the naivete and vulnerability accompanying Diana's confusion at mankind's propensity to destroy itself. Her curiosity and disappointment forms the core of a story that remains unusually focused much of the way through.

With superhero movies' reliance on stars at an all-time low, it may be possible for an actor to be afforded the opportunity to give what's considered a truly great performance in this type of role again. And while I'm still unsure Gadot does exactly that, she may accomplish one better by simply doing the character and our imaginations justice. It's as much an achievement in casting as acting, lending weight to those Christopher Reeve mentions, even as this has little in common his Superman films. Its whole look, feel and tone is actually more in line with something like The Rocketeer, a comparison that was more hastily ascribed to Marvel's recent Captain America entries.

If a hero's only as strong as their villain, there's some debate as to who's considered the main one here. Though there's a good reason for that, it's still a bit of a problem considering it's so clearly Elena Ayaya's "Dr. Poison," with her terrifying look and intriguing motivations, who leaves the most lasting impression as an adversary. It's saddest to admit that as strong as most of the picture is, it still doesn't completely break out of the box, remaining recognizable as exactly what it is: Yet another superhero movie. What it has going for it is unusually good direction and a masterstroke in casting. What has little to do with that is the fact that it was directed by woman. Having everything to do with it is that she was the right person for the job, regardless of gender.

Still overlong at nearly two and a half hours, it uses its time better than most, before delivering a third act that doesn't really distinguish itself from other entries in the genre, falling back on a climactic CGI-laden showdown, with a bit of a surprising twist. But at least most of what leads up to it works better than most expected given all the obstacles in bringing one of the most creatively challenging comic characters to the big screen. Whether this can continue, or more importantly, whether it should, is a different question entirely. But for now, it's worth basking in the victory of a successful Wonder Woman installment that's feels as if it's been a long time coming.

Edge of Darkness

Director: Martin Campbell
Starring: Mel Gibson, Ray Winstone, Danny Huston, Bojana Novakovic, Jay O. Sanders
Running Time: 117 min.
Rating: R

★★ 1/2 (out of ★★★★)

Edge of Darkness, the embattled Mel Gibson's first starring vehicle in over six years, isn't the "revenge thriller" you may have assumed from its ads and trailers. This is both good and bad. Good in the sense that the story isn't just an excuse for senseless violence and is for the most part intelligently crafted. Bad in that the whole thing is dragged down in scenes of senseless expository dialogue that disappointingly take us exactly where we think it will. While better than expected, it's fatal flaw is in giving us the same old conspiracy story we've seen hundreds of times before when there were so many better options available.

This is one of those workmanlike movies you happen to catch on cable late at night and enjoy watching while it's on, then it ends and you realize you've essentially seen nothing and wasted your time. But for a movie that's too talky to be considered a thriller of any kind, it sure does have some impressive death scenes, including one shocker that caused me to literally jump in my seat. And it's difficult to go too hard on a movie that features Gibson screaming "Fasten your f*ckin' seatbelt!" at a crooked lawyer and informing us "Everything's illegal in Massachusetts." No matter how you may feel about Gibson as a person or celebrity, when the cameras start rolling, he unquestionably delivers. As a showcase for him the film's a success, but he would have benefited more if the story wasn't so ordinary.

The most frustrating aspect is how promising it starts. Boston police detective Thomas Craven (Gibson) picks up his visiting daughter, Emma (Bojana Novakovic) at the airport and upon returning home she's gunned down at his front doorstep with authorities logically suspecting he was the intended target. Soon it becomes clear that Emma was caught in the middle of one of those far-reaching corporate cover-ups by the security firm where she worked. Out of spite, I'm almost tempted to reveal exactly what that cover-up is since the script tips its hand way, way too early, but that's not even worth it since it would just be greeted with a big "THAT'S IT?" It's so run-of-the mill and predictable nearly anything would have been more satisfying. The worst part of it is the opening death scene is so well-handled and sets up a scenario that could have gone in a million different intriguing directions, yet writer William Monahan chose the safest route.

On the bright side, when the film unwisely commits to taking that road it does so intelligently and doesn't repeat the mistake of the similarly themed Death Sentence a few years. Unlike Kevin Bacon's character in that torture porn fiasco, Craven doesn't just take to the streets and start murdering two minutes after his daughter's killed, as trailers have hinted. He grieves while throwing himself full force into the case as someone in his situation more likely would. It's just too bad we know the details and outcome of this investigation before it even starts and it still does nothing to get us to care about what's happened to his daughter. Gibson, now entering his mid-fifties, is still believable as a bad-ass out for revenge and puts on a credible Boston accent, but he's undermined by too many scenes spent sulking around and mumbling at the bad guys.

The film would have been far better off crafting a huge mystery around Emma and what happened, not pulling the trigger on the reveal until the final act. Besides building suspense, this also would have helped in getting us to care about her. Instead we're given loads of information I felt like I knew already sandwiched in-between a couple of crazy Final Destination-style death scenes. They're entertaining, but given the more serious nature of the plot you'd be right in questioning whether that's appropriate for the type of cerebral, 70's style thriller this is trying to be. It can't have it both ways since the plot isn't compelling enough to drive the dialogue-heavy scenes and the action clashes with the tone. 2004's government conspiracy thriller Spartan is the rare film to pull that tricky mix off but Martin Campbell is no David Mamet and this script isn't nearly as layered.

There are some good performances that elevate the material slightly, namely from Danny Huston as the evil CEO of Northmoor, Jack Bennett. How do we know he's evil? He's played by Danny Huston. At least they picked the right actor. Professional heavy Ray Winstone plays a mysterious informant named Jedburgh, a role that originally went to Robert DeNiro before he walked off the set due to "creative differences" (a hilarious fact considering he's cashed checks for Meet The Fockers and Righteous Kill). It's Winstone's gain as he crafts an intriguing character out of basically nothing and gives us hope there could be more to the film than what lies on the surface. But there isn't and some of his talky scenes with Gibson are unbearable in length.

I did respect that after having sat through a story this pedestrian they at least bothered to give us a exciting ending that made sense. And that opening scene really is something else. As unpopular as this sounds, Gibson deserved better than this as an actor as his performance goes beyond what the script dictates he can bring. He has to do some heavy-lifting emotionally for a story that doesn't amount to much, though it's worth appreciating what the film was going for. Based on an acclaimed six-part 1985 British mini-series of the same name, it does feel like a project of that length was jammed into two hours worth of time, possibly with the more interesting aspects left out. Supposedly, the original had more of a sci-fi/mystical slant, which would have actually been welcome here. Anything other than the standard government conspiracy would have been welcome. A near-miss, Edge of Darkness is an interesting exception to Roger Ebert's famous rule, not working because of what it's about rather than how.