Damaged

When Good Casts Go Bad: The Chaotic Descent of Damaged

In the strange and senseless world of serial killer thrillers, Damaged attempts to deliver a grim, cross-continental mystery but veers disastrously off-course. Samuel L. Jackson leads an otherwise respectable cast straight into cinematic catastrophe, as the film’s absurdity undermines its attempts at gravitas. From its questionable premise to baffling character choices, Damaged sacrifices coherence for shock value and loses IQ points with every passing scene.

A Killer Premise Gone Wrong

The plot begins in Edinburgh, Scotland, where a young woman (Nicolette McKeown) leaves her synagogue unaware that a raincoat-clad figure is tailing her. The stalker soon appears at her door. In a fatal lapse of judgment, she opens it, only to be brutally attacked—the scene spiraling into gratuitous horror as the murderer produces a hacksaw to finish his gruesome work.

Half a world away in Chicago, Dan Lawson (Samuel L. Jackson), a disgraced, alcohol-soaked detective, stumbles onto a crime scene with whiskey still on his breath. Despite being visibly intoxicated, Lawson recognizes the murder’s sinister hallmarks—the exact same ritualistic presentation as a series of killings he failed to solve five years earlier. These failures led to his retirement and the unraveling of his former partner, Walter Bravo (Vincent Cassel), who spiraled into isolation and alcoholism.

The Scottish authorities, desperate after their grisly discovery, summon Lawson to consult on the case. Enter DCI Glen Boyd (Gianni Capaldi), a detective haunted by the death of his young son and burdened by grief. His estranged wife Marie (Laura Haddock) watches Boyd struggle, pinning faint hope on his ability to solve this case and reclaim his dignity. However, as Lawson arrives, his drunken demeanor raises immediate concerns—for everyone except Boyd and his superior, Laura Kessler (Kate Dickie), who inexplicably put their faith in this broken man.

Competence in Question

The central flaw in Damaged is not just the incompetence of its investigators but the film’s unwillingness to acknowledge it. How does Lawson’s past failure inspire confidence instead of skepticism? His unresolved trauma and substance abuse issues scream liability, yet the Scottish team acts as though his experience with the Chicago murders is a secret weapon rather than a red flag.

Meanwhile, Boyd’s personal torment clouds his focus, and his interactions with Lawson lack the tension or conflict you’d expect from a partnership forged in tragedy. When Lawson suggests pulling Bravo out of retirement, the narrative takes another bizarre turn. Bravo’s appearances are random and unproductive—he drifts in and out like a ghost, never truly collaborating with Lawson or Boyd. Instead of uniting as a crack investigative team, the trio operates in frustrating disarray, as though they’re starring in three different films.

Twists That Trip Over Themselves

Damaged positions itself as a cerebral thriller, building toward climactic twists and shocking revelations. But the so-called surprises fall flat, telegraphed by clumsy exposition and heavy-handed foreshadowing. When the supposed big reveal lands, it hits with all the impact of a deflated balloon.

The disjointed storytelling is exacerbated by poor pacing. Scenes drag when they should accelerate, leaving the viewer more confused than intrigued. Attempts at gritty realism devolve into melodrama, while promising character arcs collapse under the weight of half-baked motivations. For instance, John Hannah’s supporting role hints at a deeper subplot but never materializes into anything substantial, adding to the film’s incoherence.

Wasted Talent, Wasted Potential

It’s baffling that a film with such a strong cast could fumble this spectacularly. Jackson’s portrayal of Lawson feels uninspired—his trademark charisma buried under inconsistent writing. Vincent Cassel’s Bravo, ostensibly the emotional heart of the film, feels like an afterthought rather than a compelling counterpart. Meanwhile, Boyd’s arc, intended to be tragic and redemptive, is lost in the noise.

The film’s visual direction also fails to elevate the material. British TV director Terry McDonough (The Expanse, The Street) is no stranger to intricate narratives, but here, his expertise is drowned out by chaotic storytelling. Whether due to production constraints, poor scripting, or a lack of vision, the final product feels like a B-movie masquerading as a prestige thriller.

A Case Best Left Closed

Ultimately, Damaged is less a gripping procedural and more a cautionary tale about wasted potential. The film’s attempt to juggle emotional depth, grisly crime, and psychological intrigue results in a muddled mess. What could have been a dark and compelling exploration of trauma and redemption instead spirals into absurdity. Despite the pedigree of its cast and director, Damaged fails to rise above its incoherent script and contrived plot twists.

If you’re hoping for a taut, suspenseful thriller, look elsewhere. The only thing this investigation uncovers is a missed opportunity.

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