The Hollywood Reporter by Michael Rechtshaffen

An intense Mel Gibson performance anchors this brutally effective crime thriller.

Entertainment Weekly by Owen Gleiberman

His (Gibson) slow-burn fury keeps the movie going, but not enough to invest us in any justice beyond payback.

New York Post by Lou Lumenick

Perhaps the best compliment I can pay to his work in Edge of Darkness is that I wouldn't particularly want to see this movie with grumpy Harrison Ford starring instead. Welcome back, Mel.

USA Today by Claudia Puig

Though the experience is nerve-racking and cathartic under Campbell's skilled direction, musings on family and grief and Gibson's intense, but subtle, performance stay with us longest.

San Francisco Chronicle by Mick LaSalle

I don't see Edge of Darkness as a great movie, or a particularly exalted one, but I do see it as one made by people who know where the buttons are - and who know how to press them. Hard.

Chicago Tribune by Michael Phillips

Campbell’s film offers not surprises, exactly, but craftsmanship and low, brute, cunning satisfactions.

Arizona Republic by Bill Goodykoontz

Both the film and television project were directed by Martin Campbell. He creates a nice level of tension throughout, and there are a couple of legitimate shocks (including one jaw-dropper).

Village Voice

Onscreen much of the time, thicker and more creased than you remember, Gibson can make this rather unshapely movie seem taut.

New York Magazine (Vulture) by David Edelstein

A meathead revenge picture, but it’s very satisfying. Director Martin Campbell, coming off "Casino Royale," has a style that’s blunt and bruising.

Salon by Stephanie Zacharek

Edge of Darkness is somewhat stylish, and it's intelligently made.

Village Voice by Nick Pinkerton

Onscreen much of the time, thicker and more creased than you remember, Gibson can make this rather unshapely movie seem taut.

Boxoffice Magazine by Pete Hammond

They’ve shed all of the Brit-centric political aspects and updated it to make a riveting, pulse-pounding suspense thriller that really does keep you on ‘edge.’

Time Out by Keith Uhlich

There’s no room for such soul-searching uncertainty with Gibson. After a few rapidly ticked-off minutes of gloom, the mission is clear: Get the sons of bitches, and make ’em pay.

Variety by Brian Lowry

Campbell's topnotch production team yields predictably polished results, but the director's decision to revisit the late Troy Kennedy Martin's teleplay, finally, feels lacking.

ReelViews by James Berardinelli

Considering the talent involved and the strength of the source material, there's no way Edge of Darkness should have been this disappointing. Part of the problem is a direct result of condensation - there's no way to cram six hours of the dense mini-series upon which the movie is based into about 110 minutes without paying a penalty.

Orlando Sentinel by Roger Moore

An odd duck of a thriller. Quiet, talkative, with the occasional explosion of violence, it has ghosts and characters philosophizing, quoting F. Scott Fitzgerald or blurting insensitive non-sequiturs.

Austin Chronicle by Marc Savlov

Edge of Darkness has the look and feel of a Brit film shot in America – it's all dark, boxy rooms with powerful white men in impeccable black suits discussing how to tidy up the minor mishaps of their game over brandy and cigars.