Revenge. Strangely served on chilled dishes, it’s an issue that we all consider, if not fantasise about. And isn’t cinema about fantasy? From Westerns to Charles Bronson and beyond, we all like to see these fantasies played out. But what if the fantasy gets real? From the trailers, The Brave One seemed to be a film that dealt with vengeance with a bit more conscience that most movies.

The plot centres on a radio host, Erica, who wanders through the haze of her artsy New York in anticipation of her wedding with her nurse boyfriend, David. While strolling through central park at night, they are attacked by a gang, and David is murdered, with Erica being injured severely surviving. Erica’s New York suddenly changes, she sees it as dark and threatening. But rather than cower, she is drawn to it, and invests in a gun in an attempt to reek revenge on whatever hood or shady figure she encounters. Hot on the trail is responsible but frustrated detective Mercer, who befriends Erica unaware of her hidden vigilante life.

The above paragraph was the most difficult task I’ve had in quite a while. Not because of the complexity of the story, but because it’s so painfully ordinary that the thought of completing it was utterly exhausting. Which is the main problem. The film is a mildly decent idea, but from the outset it’s just far too uninteresting to be any way satisfying.

Director Neil Jordan is a rather mixed director. At times he’s brilliant (The Crying Game), and at other times he’s awful (In Dreams). Here, the direction is mildly stylish, but I get the feeling it’s a hack job. Jordan is usually involved in his films’ scripts, but not here. Admittedly, his presence does add to the film. Erica’s sense of estrangement from her previous life are perfectly represented by canting tracking shots. The decision to juxtapose the couple being rushed into hospital with a memory of a love scene is quite touching. And of course, the actual attack is a disturbing scene, especially when one of the thugs films the assault though a camera phone. And you know a film hits home to some extent, when the audience applauds Erica’s dealing with two hoods bullying passengers on a subway with some hot lead.

But it’s not enough to lift this film out of its inherent mediocrity. Jodie Foster is good as the disturbed lead role who isn’t afraid to get tough. But Terrence Howard as the level-headed detective fails to impress on any level. The loneliness of his recent divorce fails to register any significant sympathy. And there’s not much chemistry between him and Foster to generate any sort of true sexual tension. Lost’s Naveen Andrews isn’t on screen long enough to make any lasting impact, and only appears to be that one-dimensional Perfect Man.

The film only manages to save itself through its ending. Before I continue I should alert you to a SPOILER. The film really relies on the conclusion: does she get away with it, or does she get caught? The just but unlawful mild twist is somewhat entertaining, but indicates something deeply satisfying about the film. END SPOILER
Perhaps it’s the film’s attempts to be a female Taxi Driver in its eloquent monologues of disgust that’s the problem. They set up what could be an intriguing drama concerning the true value and consequences of revenge. But in the end, with its wrap-up conclusion and overall shallowness, the film feels more like a safer Death Wish.