Film Review: Destroyer (2018)
I’ll admit I’m a Nicole Kidman mark. I always look forward to her movies because, even if the film is lackluster, she can be counted on to shine. I wouldn’t go so far as to say that Destroyer is lackluster, but it is missing some punch. Kidman, of course, delivers the goods in a transformative performance, channeling a laundry list of less-than-savory movie cops that have come before her. She keeps her bad cop grounded though, never fully veering off into the decadent and corrupt worlds of her predecessors. She’s a mess but discovering how she got there has a few interesting twists and turns.
The film opens with the discovery of a body. Detective Erin Bell (Kidman) examines the crimes scene and appears to have knowledge of the victim’s identity. She sets off on a hunt for a man named Silas, who is somehow entangled with her past. Slowly, the details of her off-the-books investigation are revealed, along with clues about how the once rising star officer wound up as she did. While the mystery’s resolution may not be wholly satisfying, the journey has some very strong moments, with some nice swerves thrown in for additional cinematic flair. Flashbacks are effectively used to tell the backstory, and the pacing keeps things moving – but not too fast.
There are some odd editing and cinematography choices that don’t quite work – almost as if an attempt was made to call us back to crime thrillers of the 70s – but nothing too heinous as to derail the story or the mystery. Some unresolved plot elements and a muddy sense of motivation left me scratching my head too, but again, if you’re able to let these issues slide and stay focused on Erin and her undertaking, you’re still looking at a pretty good rogue cop movie.
It’s Kidman’s performance, however, that elevates Destroyer past any of the film’s possible shortcomings. The obvious is that she’s been made to look like she’s been put through the wringer. Yes, she looks terrible, but that alone wouldn’t sell it. Kidman finds the appropriate nuance to really put her portrayal over the top. Bad teeth and cracked, dry skin give her the resemblance of a drug-addict, but her performance lives in her posture, her walk, and her mannerisms. Watch her as she stumbles around in ill-fitting clothes and a constant expression that says, “I could hurt you if I wanted but I don’t have the energy right now.” The devil is in the details, and Kidman nails them – especially in her scene with Bradley Whitford (you can cut the despair and humiliation with a knife).
The damaging effects of deeply held and guarded guilt is what Destroyer is really about – and at that, it’s a success. By the end, Erin is transformed by our understanding of her, and while redemption isn’t offered in a feel-good way, it’s there for her to grab nonetheless. With some tied up loose ends and a slightly tighter narrative, Destroyer could have been the best “bad cop” offering we’ve seen in some time. It might still be, but I can’t help but imagine what it could have been.
