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"Edge of Darkness" poses an intriguing question: Should an actor's personal tribulations affect the perception of his onscreen work? Following the events that led him to be labeled an anti-Semitic drunk, Mel Gibson racked up more than a few strikes against himself. Tabloid smearing aside, he turns in a vintage tough guy performance. Gibson is not the problem; gratuitous gunplay turns the film into a missed opportunity. It desperately wants to be "Mystic River," but settles for "Death Wish."

The first two thirds of the movie succeed as an engaging thriller. Detective Thomas Craven (Gibson) welcomes his daughter Emma (Bojana Novakovic, "Drag Me to Hell") for a visit to the Boston home where she grew up. Their reunion is short-lived, as Emma is gunned down on the front porch. Soon, Craven discovers his daughter was hiding the secrets of a shady government contractor. To find the killer, he must peel away the layers that conceal an illegal weapons-building operation. The main opponents include a crooked senator (Damian Young, "Californication") and the company's creepy executive (Danny Huston, "30 Days of Night").

To cover up the murder, the company hires a mysterious Englishman from an unnamed agency. Half mercenary/half spin-doctor, Jedburgh (Ray Winstone, "The Departed") shows empathy for Craven. The only thing more convoluted than Jedburgh's identity is where his loyalties lie.

Even before his downfall, Gibson dug himself chin-deep in the vanity projects "The Passion of the Christ" and "Apocalypto." Remember "Signs"? That was the actor's last starring role way back in 2002. For the most part, "Edge of Darkness," is an ideal comeback vehicle. Throughout the movie, Gibson effortlessly shoots and punches his way through a parade of anonymous bad guys.

But director Martin Campbell aims for more than just a revenge flick. He helmed the British miniseries the film is based on, so he understandably wanted to do justice to the original material. From the opening sequences, it's clear that Martin wishes to set his own tone. Long, quiet dolly shots give way to sudden jolts of action, but not often enough to cheapen the effect of busted-down doors and shots to the neck.

The threat of violence keeps the suspense going, and the execution of that violence tears it down.

As the body count accelerates, you may find yourself wondering if a better edit lies beneath the rubble. Someday, we may get a sharper director's cut, as in the case of "Payback," Gibson's other foray into vigilante justice. For now, "Edge of Darkness" remains a promising conspiracy caper that collapses into a bloody mess. Everything the script works to achieve dies in a barrage of bullets.

Gibson's name is on the poster, yet Winstone makes the second half of the movie watchable. He exhibits the same kind of subtle machismo that made him a cult hero in 2000's "Sexy Beast." His thick accent is hard to understand, which enhances the character's almost mystical quality. Jedburgh's initial meeting with Craven is one of the strongest scenes from any film so far this year. Surly but good-humored, Winstone's presence adds a much-needed dose of artistic credibility to balance out the excessively tender flashbacks that haunt Craven.

The general public doesn't care about Ray Winstone. Everyone wants to see whether or not Gibson can resurrect his acting career. Without its awful ending, it would be a pretty solid picture. Gibson's detractors will be happy the movie falls short, while movie fans will be disappointed it just gives up.