GarnettTeenage The film was still a fun one that will make you laugh and have you leaving the theater feeling like you just stole something valuable and got away with it.

PiraBit if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

Sameer Callahan It really made me laugh, but for some moments I was tearing up because I could relate so much.

Kaelan Mccaffrey Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

Robert J. Maxwell A Yorkshire police inspector's daughter is shot by a mysterious figure and dies in her dad's arms. Bob Peck spends the rest of the movie figuring out who killed her and why -- and he never shoots anybody. This stands in stark contrast to the Hollywood remake, in which the daughter's death merely provides an excuse for Mel Gibson to shoot everybody who looks at him cross eyed. This is the vastly better TV miniseries that provided the source for the remake.And yet it's hard to evaluate. The story is contemporary and powerful. The inspector's daughter was a member of an organization called Gaia, after the Greek's earth goddess. She was investigating a supposedly abandoned storage facility for useless nuclear waste. (I'm going to try not to give too much of the plot away.) There's more too it than that, of course, and it takes Peck the entire four hours or so to bring the narrative to a conclusion, and a costly and ambiguous one at that.There were a couple of bothersome features in the production though. I suppose it's difficult to lighten a story of a man grieving over the murder of his only relative. But that still leaves a lot of lugubrious close up of Peck's mournful face. The only time he seems to lose his melancholy is, sometimes, in the presence of the cheerfully antinomian CIA agent played by Joe Don Baker, whose bulk and flab add some materiality to the images. I perked up, too, when Allan Cutherbertson was on the screen, although I wish he were still ginger instead of gray. Eric Clapton, whom I admire very much both as a musician and a man, wrote a score that adds little to the film.Another problem may be attributed to my own ignorance of those bureaucratic entities. There seem to be an enormous number of them and I lost count of who was who. Let's see. There is the Northern Police in Yorkshire, for which Peck works. Then there's the Metropolitan Police in London, somewhat at odds with the other. Then there's Scotland Yard. Then there's a special branch that reports directly to the PM, a shadowy force. Then the CIA. And those are just the agents of social control.Among the civilians, or quasi-civilians, there is an Irish prisoner who works for somebody, a union whose boss is treacherous, and finally the corporation that wants to buy the nuclear storage facility with the goal of harnessing the power of the universe to destroy enemy missiles before they can leave their silos and then establish a "solar empire" led by "the United States of America -- and its allies." The corporation is called something like The Kansas Nuclear Fusion, Barbecue, and Car Wash Corporation.For the middle two hours of this four-hour presentation I was thoroughly befuddled by the individuals representing these organizations and by the valences and goals of the organizations themselves. I didn't know who was following whom, or why.From time to time Peck hallucinates conversations with his now-dead daughter (Whaley) and in the last one she tells him that even if man destroys himself the planet will survive. Black flowers will grow, and they'll absorb the sun's heat and melt the polar ice caps and the earth will be watered and flourish again. (Something like that.) When Peck and Baker are having their last conversation -- both drunk and dying by degrees -- Baker airily dismisses the argument and tells a story about seeing Russian soldiers in Afghanistan eating black flowers, from which he draws the conclusion that man will destroy himself and the planet along with him. I told you the story was powerful. But the last shot is of the snow-patched shore of a Scottish lake and we see black flowers shivering in the wind. So I guess the earth wins -- maybe. Or, as Ernest Hemingway said, "Wouldn't it be pretty to think so?"

David Saw this when it first came out back in the 80s & was very pleased to see it is being re-aired in Australia. IMO this has to be amongst if not the finest drama ever produced for TV .. or the big screen. Riveting from the opening scene to the last. Unlike many shows from that era this one hasn't dated and there's no comparison to the Mel Gibson travesty. Unlike most (all?) of today's television, this is a show that requires your undivided attention - it has more twists and turns than a DNA helix. And the haunting music just has to be experienced. The first scenes even predict the rise of the Greens as a political force.

Harri Kaimio I first saw a small clip of Edge of Darkness while visiting Britain during the 1986 BAFTA award ceremony and the imagery has haunted me ever since. After that I have seen it in several occasions, and even if I risk downplaying masterpieces like Bergman's "Fanny & Alexander" or Kieslowski's "Dekalog", for me this is still "the" TV series of all times.For once every single piece of the production is fully supporting each other. Acting is superb, cinematography and editing terrific and music (by Eric Clapton) creates an unique atmosphere. Director Campbell and his team really knew their medium (this series actually looks better in a small TV set than on a large screen. After all, it was *designed* to be viewed that way!) At 1980s, the style and quality of Darkness was revolutionary. 20 years later it has been copied so often that it looks almost classical.The complex plot that turns from labour union investigation to tale of grief and personal loss, to murder mystery, to international political thriller, to allegory of the eternal fight between forces of good and bad, to analysis of the philosophy behind environmental movement, is today as acute as it was 20 years ago. Most of all, however, Edge of Darkness is an exceptional TV drama that keeps you enchanted for all of its length. And it does offer the ultimate cliffhanger before the final episode...

BigBANGtheory This is the closest to perfection a TV-mini series could hope to reach it simply doesn't get any better than this. You know how some dramas start well, build up to an exciting mid-point but ultimately fall short in their conclusion? Well 'Edge of Darkness'is not one of those, it starts strongly, builds up to some unforgettable moments and delivers a god-like finale. All this without leaving annoying plot holes, questions, doubts and not by any means spoon feeding the viewer a linear simplistic plot line.....Pure Genius this is THE Thriller by which all others should be compared.'24' by modern times is good yes but it limps along compared to 'Edge of Darkness'.'Das Boot' is perhaps the closest rival in my opinion though I look forward to a day when it is eventually bested by a modern production.If you haven't seen it, do so! Its still very watchable even though filmed in 1985.