Review: Destroyer

Nicole Kidman stars as an LAPD detective and former undercover operative who is a shell of the woman and cop she used to be. She’s also struggling to stay in the life of her rebellious daughter. She clearly hasn’t recovered from an undercover operation her and her partner (Sebastian Stan) were involved in, infiltrating a gang of hell-raising robbers led by the wild-haired Toby Kebbell. The job went horribly, horribly wrong and Kidman seems to want to spend the rest of her life torturing herself for it. Now, 17 years later a new homicide case seems to be heightening Kidman’s ‘issues’ as it appears the elusive Kebbell has resurfaced and is sending Kidman a message. Tatiana Maslany plays a hellcat member of the gang, Scoot McNairy is Kidman’s frustrated ex who barely even tolerates her, Toby Huss is her well-meaning boss, and Bradley Whitford plays an uber-sleazebag lawyer connected to the gang.

Potentially interesting material is given overblown and off-putting treatment in this 2019 burnt-out cop movie from director Karyn Kusama (“Girlfight”, the not-bad adaptation of “Aeon Flux”) and screenwriters Phil Hay and Matt Manfredi (who teamed up for “Aeon Flux” and “Clash of the Titans”). A heavily – and poorly – made up Nicole Kidman (perhaps aiming for Charlize Theron in “Monster”) looks like something out of a “Mad Max” movie, and never for a moment convinces in this ‘undercover cop potentially gone to seed’ movie. Seemingly realising that Kidman just didn’t have what it takes to convey the right emotions for the part (i.e. Acting, her profession), the director has simply plastered Kidman with make-up in order to fill in the difference. It doesn’t work, and she just ends up looking, sounding, and acting stupid. Kidman can act on occasion, just watch “To Die For” or “Lion” for proof of that, but this is Charlize Theron/Judy Davis stuff, Kidman’s just not the right gal for the part. Jodie Foster or Michelle Rodriguez are other names that spring to mind (Theron and Rodriguez would certainly be more age appropriate than Kidman, Davis, or Foster. Kidman is a touch too old for the part). The decidedly bland Sebastian Stan and a ridiculously miscast Toby Kebbell don’t help, either.

It never gets off the ground, and like “Precious”, it’s so relentlessly and hopelessly grim that it’s actually really off-putting. The talented Tatiana Maslany and Scoot McNairy are wasted, but Bradley Whitford excels as the slimiest, most glib corrupt lawyer ever. He could play the role in his sleep, but he’s terrific and you can’t wait for him to get his. Sadly though, we ultimately have to get to stupidly long-haired Kebbell, one of the most uninteresting actors to be so ubiquitous. Kebbell brings absolutely nothing of interest to the table as usual, and is as intimidating as Richard Simmons. The big robbery sequence isn’t bad, but isn’t exactly “Heat”, either.

Nicole Kidman won an Oscar for wearing some makeup and overacting in “The Hours”. She seems to have attempted to go for another gong here in similar fashion. She’s hokey, the film is ugly, and relentlessly grim. The basic concept is valid, in fact the script is rather OK, if nihilistic. Every time Kidman turns up looking like she just escaped Thunderdome though, I was taken out of the film’s reality because it’s both badly done and unpleasant. It’s her worst performance since “Eyes Wide Shut” and possibly ever, in a film that is over-style over substance. Bradley Whitford has a terrific cameo, and the music score by Theodore Shapiro (normally a composer for comedies like “The Secret Life of Walter Mitty” and “Tropic Thunder”) is top-notch. Otherwise, this is a hard pass from me. It didn’t have to be this way, and I’m pissed off about it, to be honest.  

Rating: C-