Niels Arden Oplev, director of the Swedish Girl with the Dragon Tattoo, makes his American debut with a thriller starring Colin Farrell and Noomi Rapace.
Victor (Farrell) is a low-ranking criminal working alongside fellow foot-soldier and friend Darcy (Dominic Cooper) in the gang headed by Alphonse Hoyt (Terrence Howard), a sharp-suited villain who specialises in clearing buildings of tenants for the Mob. Hoyt is coming apart at the seams due to a three month barrage of cryptic notes, and surveillance photos with his eyes crossed out. And that’s before Paul, the trusted lieutenant he tasked with identifying the mystery stalker, turns up dead in the basement of Alphonse’s mansion. As Alphonse goes on the offensive Victor strikes up a low-key romance with his high-rise neighbour Beatrice (Noomi Rapace), a beautician horribly scarred by a car accident who now shuns the world and lives with her mother Valentine (Isabelle Huppert). But embittered Beatrice may hold the key to solving the mystery of who is harassing Alphonse…
Dead Man Down’s best feature is its patient drip-feeding of surprising information in the first act. There is one truly extraordinary scene in which a victim is revealed to be a predator, and Terrence Howard’s villain on the make interestingly has something of Bob Hoskins in The Long Good Friday about him. Oplev defamiliarises NYC to an astonishing extent; making it a city of warehouses in deserted urban locales, docklands overgrown with green trees, and lush vegetation surrounding high-rise apartment blocks. There are a number of nail-biting sequences in the film as Darcy takes over Paul’s investigation and gets closer to the truth which got him killed, but somehow Oplev doesn’t milk the tension from them Fincher would, while his action sequences are staged efficiently rather than dazzlingly. Really this is TV’s Revenge, writ large, and not quite as attractively.
Fringe writer JH Wyman’s dialogue clunks almightily at times, not helped by Oplev shooting those scenes with lengthy pauses where the piano tinkles helpfully to suggest emotional epiphanies are being had by characters who don’t look like they’re even thinking. Oplev incredibly sabotages a scene where the voice of a dead girl says “Daddy got rid of all the monsters”, by showing us a board of photos of all the mobsters still to be killed. We got it, stop flourishing your Diploma from the Oliver Stone School of Subtlety. Wyman’s script has good intentions, but just when you’re thinking about quotes by Confucius and Gladiator on revenge the finale changes gears completely, almost as if a draft by Luc Besson of the Colombiana showstopper had got mixed up with the final pages of Dead Man Down, and profundity is banished.
You couldn’t say that Dead Man Down is a bad film, but you could only give it a very qualified thumbs-up because it so aggravatingly wastes its abundant potential.