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CRAZY HEART Robert Duvall appears in a supporting role in Crazy Heart and also serves as one of the film's producers. His participation in this project makes complete sense: He wanted to personally hand the baton off to Jeff Bridges. After all, Duvall won his Best Actor Academy Award for 1983's Tender Mercies, and now here comes Bridges, the odds-on favorite to finally win his own Oscar for playing the same type of role essayed by Duvall -- that of a rumpled, boozing, country & western star who enters into a relationship with a sympathetic woman at least two decades his junior. Bridges' grizzled character goes by the name Bad Blake, and that first name describes less the man who bears it -- he's fundamentally decent although, like most drunks, irresponsible and exhausting -- than the circumstances of his present lot in life. Washed up, perpetually inebriated, and playing honky-tonk dives while his protégée, Tommy Sweet (Colin Farrell), fills up massive arenas, Blake stays in the fight even though the odds are against him. But suddenly, unexpected developments on the personal and professional fronts hold real promise. Sweet turns up and, clearly fond of his former mentor, offers him an opening slot on his tour and the opportunity to write new songs for him. And Blake, a multiple divorce' and unrepentant womanizer, finds a chance at a lasting relationship when he meets and falls for reporter and single mom Jean Craddock (Maggie Gyllenhaal). Will Blake finally encounter true happiness, or will he find some way to screw everything up? Adapting Thomas Cobbs' novel, writer-director Scott Cooper throws enough curve balls into the expected plotting to keep the narrative from completely dissolving into formula. This is Bridges' show from start to finish, and he seems to be taking particular glee in letting it all hang out (sometimes literally, as a generous gut is frequently glimpsed bursting through an open shirt). Jeff Bridges is a great actor and Bad Blake a great character, and that's more than enough to make this otherwise unexceptional picture sing. ***
BROOKLYN'S FINEST Brooklyn's Finest certainly isn't Hollywood's finest. This tired police actioner admittedly picks up during its second half, but by then, patrons may be too deep in slumber to be woken even by the constant gunplay, shouted profanity or blaring coincidences that clang against each other with Crash-like precision. Speaking of Crash, that film's Don Cheadle shows up for ensemble duty here as well, playing one of three NYC police officers whose lives will intersect at various points during this pedestrian picture's running time. He plays Tango, an undercover cop who isn't sure if he can betray the powerful crime lord (Wesley Snipes) who trusts him like a brother. Meanwhile, Sal (Ethan Hawke) is tired of trying to support his large family on his measly salary, so he figures there's no harm in pocketing the cash found in the drug dens he helps bust. Finally, there's Eddie (one-note Richard Gere), a surly loner who has only one week to go before his retirement. Antoine Fuqua previously directed Training Day (for which Denzel Washington won his second Oscar), but here he's tackling a script with training wheels, as Michael C. Martin (making his feature-film writing debut) can't escape from the ghosts of cop flicks past. The only modest surprises occur at the very end -- not everyone gets the fate that might be expected -- but at that point, most viewers will be ready to walk a different beat altogether. **
EDGE OF DARKNESS Although based on a 1985 British TV miniseries, Edge of Darkness mostly feels like The Constant Gardener shorn of all emotional complexity and weighty plotting. That hardly matters, though: This could have played like an episode of Sesame Street and audiences would still turn out just to answer the pressing question: So, what's Mel been up to these days? It's been eight years since Mel Gibson has handled a leading role on the big screen (2002's Signs), and he's spent the time since then directing the biggest moneymaking snuff film of all time, getting in trouble with the bottle, with the law and with the wife, and being brilliantly parodied in a memorable episode of South Park. And now he's back in Edge of Darkness, and while his off-screen antics have noticeably aged him, he hasn't lost a step when it comes to exuding that undeniable movie-star magnetism. Gibson plays Thomas Craven, a widowed Boston cop whose grown daughter Emma (Bojana Novakovic) is murdered right before his eyes. The devastated dad starts snooping around and finds that all signs point toward Emma's former place of employment: Northmoor, a shady corporation with all sorts of underhanded ties to the government. Edge of Darkness is effective as a cathartic revenge yarn, at least until the absurdities begin to pile up during the final half-hour. As for Gibson, he's just fine in the sort of role that's been his bread-and-butter for the majority of his career: the maverick out to right a massive wrong by any gory means necessary. It's not exactly a fresh interpretation -- one reason the similar Taken works better than this picture is because we're not used to seeing Liam Neeson in such a part -- but it demonstrates that Gibson knows the best way to reconnect with his sizable fan base is by giving them what they expect and nothing more. And now that the edge has been removed from his public persona, can the career resurrection be far behind? **1/2
