There’s the pudgy cop with friendly lines across his face (Neil Maskell), the femme fatale with a thousand-knife stare (Joely Richardson) and the red-faced father figure whose every word is tinged with self-loathing (James Cosmo). The era of Hollywood’s “great faces” may be over, but this film has its fair share. The director, Anthony Byrne, has a good eye for what looks good on-screen and there are even a few well-staged, cogently photographed action sequences that wouldn’t feel out of place in a Mission: Impossible film. Keeping with the theme, the film is drenched in shadows. “… she simultaneously becomes a suspect of the police and a target of organized crime.” In an instant, she simultaneously becomes a suspect of the police and a target of organized crime. It’s the latter for Sofia, because, in a surge of irony, she ends up being the only witness to a significant murder. Some neighbors play loud music, some can’t seem to afford their own sugar and some lead you into life-or-death, geopolitical conspiracies. Her life is generally uneventful, except for her upstairs neighbor, played by Emily Ratajkowski. Natalie Dormer, who is also a co-writer and producer, plays Sofia, a blind musician who has memorized every step of her daily commute to the point where she could probably walk it backwards on a tightrope. Unfortunately, the movie doesn’t go out of its way to disprove these superficial observations and, instead, cements them into reality. The word, “darkness,” seems to elicit just the right amount of morbid curiosity from a potential audience, without being too provocative and scaring them off. From the title alone, you wouldn’t be remiss in thinking In Darkness to be a generic, perfunctory run-through of market-tested chills, thrills, and twists.
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