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Un thriller sorprendentemente insulso y poco atractivo. Martin Campbell es «solo» un rutinario de acción profesional, y el tema requería una noción más específica de una advertencia triste, deprimida y urgente contra los círculos poderosos. Además, la película casi no contiene acción y, al mismo tiempo, no ofrece un desentrañamiento cautivador de la trama detectivesca: es más caótica que interesante. Danny Huston y Ray Winstone están bien elegidos, pero al personaje de Winston le falta una parte de su historia (cuando es obvio de que supuestamente iba a desempeñar el segundo papel más importante). Gibson está bien, pero en Payback era otra cosa. De hecho, al igual que la propia película. (10.02.2010)

Mel Gibson's tough guy image went out of style a long time ago, so we can't expect anything groundbreaking in terms of the script. Once again, there are espionage threads, a complex web of characters, and a tangle of uncertain facts that ex-cop Mel Gibson must put together, which he manages to do quite quickly. Thank God, however, we have excellent and raw action, which Martin Campbell handles brilliantly. The action scenes are not unrealistically inflated, they are powerful, bloody, and merciless. Above all, the car crash scene is awesome. Thanks of those few explosive moments, it is basically average, otherwise, there is nothing to write home about. (15.05.2010)

A letter to Mel Gibson:__Mel, I want to apologize. I didn't do anything as bad as the bastards who killed your daughter, but still. I was disappointed when I saw this film of yours in the movie theater. Not because of you, but because of the overcomplicated plot, the large cast of characters, and so on. It was simply impossible to navigate through Edge of Darkness... You know this, you were in it (and you were great from start to finish). But now I've brought you home on DVD and put you on the telly... It may well be a poor consolation for you, but I am giving you a fourth star. Edge of Darkness needs to be seen more than once in order to become more immersed in the plot and to take in all the information, of which there is plenty. And Mel, if you ever see him, tell Martin Campbell that he did a great job! He filmed you superbly - he handled the fight in the apartment perfectly and clearly, he did a great job on the scene with the car being shot (you know which one I mean) and he managed to create a delicious ending. Oh, and shake Ray Winston's hand, too. He could have gotten more space, but he was still great. What do you think? Welcome back, Mel, and please show up in one of these movies again soon. (06.07.2010)

Dead Man Walking. Gibson great, Winstone great, Campbell is still in top form. Although a couple of scenes really made me think WTF (the end), it didn’t bother me so much that I couldn’t enjoy the rest. The action scenes are supreme to the point it’s a shame that there weren’t more of them and the final showdown was such a treat for me to watch - precisely my cup of tea. I even feel like watching the original miniseries too. (21.03.2010)

Even with his graying head, Gibson is still an instant badass who can break a diamond with a look. However, here the poor guy languishes in a blandly told story that suffers desperately from the writer forgetting to give it any sort of direction and the director forgetting to give it shape. The tragic position of the theme doesn’t work because the filmmakers don't address it (the daughter's voiceover - WTF?!) and the huge conspiracy is laughable in its naivety. The characters (and there are a plethora of them) lack any real personal background (including Gibson), so watching them move through the plot is simply not enjoyable. It’s an incredible dud and (so far) the most blown chance of the year. I am, however, interested in the TV original. (24.02.2010)