2018, R, 92 mins.
Jim Carrey as Tadek / Charlotte Gainsbourg as Kasia / Kati Outinen as Malinowska / Marton Csokas as Kozlow / Agata Kulesza as Marta / Zbigniew Zamachowski as Lukasz
Directed by Alexandros Avranas / Written by Jeremy Brock, based on an article by David Grann
DARK CRIMES is one of the most repellently depressing films that I've seen in recent memory, a would-be intoxicating murder-mystery thriller that's made all the more unsettling because of its dicey subject matter handling and because it represents a return to the silver screen for Jim Carrey, his first film as a lead since starring in DUMB AND DUMBER TO.
This Poland set
detective drama - based on the 2008 New Yorker article TRUE CRIME: A
POSTMODERN MURDER MYSTERY by David Grann - could not be anymore
diametrically different than Carrey's recent comedic efforts, so it
represents a return to the promise of his dramatic turns of years past and
a potential new career path for the actor.
Unfortunately, DARK CRIMES could also not be any more worse of a comeback
dramatic vehicle for Carrey, seeing that even the goodwill of his low key intensity and focus here is utterly squandered in an aimless and
thoroughly unpleasant thriller that generates little, if any, suspense or
narrative intrigue. I felt
empty and hollow for having watched it.
I will say,
though, that Carrey fearlessly and thanklessly commits himself to this
dour film with an equally dour and charm-free performance.
He plays Tadek, a disgraced Polish detective that's clinging to
occupational life after being delegated to menial filing work in order to
keep his job to support his family. His
past is one of obsessive compulsive tendencies and many a botched
investigation, but he's given a newfound chance of personal redemption
when he discovers a novel written by celebrated author Kozlow (Martin Csokas)
that contains a very ghastly and appalling murder in its pages that bares
a startling similarity to a fact based case that Tadek once worked on.
believing that the writer is indeed the culprit that he's been fanatically
trying to capture for many years, Tadek puts ample pressure of Kozlow to
get a confession out of him, but he soon learns that this suspected murder
has a few tricks up his sleeve in terms of sending him down false leads.
Tadek remains steadfastly committed to getting a confession of
guilt from this man, whom he thinks is pure evil, but he hits multiple
dead ends, which begins to weigh heavily on his own sanity and home
life. As he gets deeper and
deeper into the seedier details of this case, he comes in contact with Kozlow's
girlfriend Kasia (Charlotte Gainsbourg), whose own perverse history with
abuse strangely attracts the cop to her.
With each passing day it becomes clear that Tadek is getting no
closer to making Koslow admit guilt to his crimes, which only further fuels his
unwavering desire to seek justice, and the sense of hopelessness in this
case props up his bleak despair, which ultimately spills over in
counterproductive and unhealthy ways.
DARK CRIMES is a
movie about people that are emotionally ravaged by life.
That inherently doesn't make it a bad film.
I've seen many great thrillers about doomed personas on the verge
of all out mental implosion. My
revulsion to the film, though, has more to do with its execution,
especially when it comes to some of its more unsavory content.
The film begins in an S & M club and features naked women being
brutally humiliated and savagely beaten, and it's here where there exists
an underground clientele base that are given free reign to do just about
anything they want at the expense of completely exploiting the poor
victimized women there. There's
a queasiness to how DARK CRIMES begins by thrusting us into such macabre
scenes of barbaric sexual bondage. One
nude woman in particular is tied up and eventually hung.
The context free manner that this film relays this content shows
that it's egregiously using it for pure shock value first and foremost,
only then later trying to create some semblance of a mystery narrative
around it. That felt both
dirty and wrong to me (it's also not helped that DARK CRIMES was
co-produced by Brett Ratner, whose own brush with sexual assault
allegations makes these early sequences especially hard to stomach in
hindsight). I'm not offended
by films tackling subject matter that involves sexual violence, but DARK
CRIMES is really kind of puerile in its misogynistic and toxically
exploitive handling of its material.
The flat and
listless direction by Alexandros Arvanas is another problematic
distraction here, seeing as he paints the screen with drab and colorless
cinematography that should have evoked a disturbing sense of dread and
unease, but instead is just dull to look at. I'd be willing to forgive these type of aesthetic
indiscretions if Arvanas actually invested in the plot and took the
central mystery and characters in compelling directions.
Regrettably, his predilection towards focusing on the more tawdry
elements of the film's harmful erotic elements and less on the potentially
powerful dynamic between the detective and his suspect prey all but undoes
any type of visceral impact. There's
a scandalous lack of nail biting suspense here, which becomes abundantly
clear with the elephantine pacing on display (at just a hair over 90
minutes, DARK CRIMES often feel twice as long). Hell,
the cat and mouse games between Tadek and Kozlow and how Kaisa fits into
all of this wallows in obligatory crime noir clichés (the hero and
family man cop, now disgraced, will be tempted by a damaged woman who has ties to the
killer and will, throughout it all, complicate matters for everyone). I didn't care for any of these lost souls on either side of
the law because DARK CRIMES makes pitiful attempts to make me care.
That, and the underlining whodunnit aspect of the story never really
becomes as intoxicating as the film thinks it is.
Carrey is, to be
fair, a very inspired casting choice here.
With his shaved head, heavy beard, penetrating and icy stare, and thick without coming off
as phony or forced Polish accent, the Canadian actor is given free
reign to dive headfirst into one of his most humorless, unethical, and
troubled characters that he's ever played.
I think it's a testament to his abilities as a performer that he's
able to effectively curtail all of his previous comedic and camera mugging
hysterics to play a deeply wounded man with an understated and
unpredictable level of caged ferocity.
And Carrey has been very good before in dramatic roles (like MAN ON
THE MOON, THE TRUMAN SHOW, and the underrated I LOVE YOU, PHILLIP MORRIS),
so it's kind of welcoming to see him sink his teeth back into the type of
roles that I was hoping he would continue to focus on over the course of
the last few decades, albeit with mixed results.
It would be fair, though, to say that DARK CRIMES would be almost unendurable without Carrey front and center, trying as he can to carry this film on his back and make it work. The ultimate sin of DARK CRIMES is that it never gives Carrey a story worthy of his intense focus here. Not only is this film's everyman cop turns unethically obsessed dynamic achingly familiar, but Arvanas rarely finds any sizeable hook to lure in viewers to become truly invested in its police procedural elements (this is also not aided by how Csokas theatrically overplays his antagonist without any nuance and subtlety). Worst yet, DARK CRIMES is tastelessly volatile in its handling of sexual abuse and uses it for cheap titillation, not to mention that...well...it's all so crushingly boring to endure on top of that. This film is an uninspired and lurid mess of a thriller, and it's no wonder that its U.S. release went straight to VOD after its 2016 international theatrical release. American distributors knew a dog with flees that inspires frequent watch checking in viewers when they saw one.