7/10
Dead Man Down has style.
Even though there are frequent scenes in the daytime, you never see the
sun. The city is grey and washed
out. When it is not raining, it either
just did or looks like it is about to pour.
Director Niels Arden Oplev employed these methods before for the
original Swedish version of The Girl with the Dragon Tattoo
(2009). Oplev freely copies his previous
work, but the cold and depressing atmosphere it creates is exactly what this
cold and depressing film requires.
Revenge is all about choices. One can strike while the iron is hot and just
get it over with, but that course of action lacks a certain degree of
suffering. For revenge to achieve
maximum effectiveness, the target must know he is being targeted, must be
afraid, and must endure a significant amount of time under this psychological pressure-cooker. Victor (Colin Farrell) is out for revenge and
his target, Alphonse (Terrence Howard), is showing signs of buckling under the strain.
Victor is a shell of a human being. He lives like a monk, rarely talks, and does
good grunt work for his criminal boss, the same Alphonse. When he is not taking orders from Alphonse,
Victor is at home plotting his next move in an extremely detailed and complex revenge
world he is plunging Alphonse into.
Victor could kill Alphonse at any moment he chooses to, but that is too
generous. Alphonse must sweat, grow
paranoid, think twice about going outside, and above all, try and connect the
dots on who it is that is bringing down his entire world one bullet and cryptic
note at a time.
Beatrice (Noomi Rapace) lives in high-rise right next to
Victor. Their apartments are so close
they look at each while doing chores, smoking, or just blatantly staring across
the way because there is nothing else to look at. The left side of Beatrice’s face is scarred
from a car accident that has shattered more of her life than just her
face. A drunk driver is responsible for
her predicament and his slap-on-the-wrist punishment stops Beatrice’s life
cold, as all she can do is dream of revenge.
Victor and Beatrice are both extremely wounded souls who
find some faint light of comfort in each other.
Victor’s story is painful indeed; however, Beatrice’s plight pales in
comparison. She bears the physical scars
of her life-altering event, but it is the emotional scars that eat away at her
insides. Her face is only movie
scarred. Just as the beast from recent
Beauty and the Beast re-makes is not truly hideous and the recent phantom from
Phantom of the Opera was not scarred beyond recognition, a normal person would
not find Beatrice’s appearance too shocking.
Dead Man Down is well written and Oplev is such a noticeable
rising auteur director that the film attracted multiple top-notch supporting
actors. Isabelle Huppert, F. Murray
Abraham, Dominic Cooper, and Armand Assante all pop up in small roles. Their performances are so strong they can
carry the movie themselves even though they respectively have limited screen
time.
An unfortunate knock against Dead Man Down is the
climax. The final shoot-out was not inevitable;
the noir storyline is so fresh and enjoyable that it feels like a complete let
down to run smack into a standard gunfight at the OK Corral. The action scenes during the film are short
and few and far between. Dead
Man Down was on pace to side-step action thriller clichés and rely more
on story, acting, and mood. The final
act is a messy teenaged ending to what was a gripping set-up and mature study
in vengeance.
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