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Here is the marvellously inexplicable crime thriller set in the rough streets of Edinburgh and starring the rather unlikely cast of Gianni Capaldi (Blood of Redemption), Samuel L. Jackson (Pulp Fiction), and Vincent Cassel (L’Élève). If you’ve ever wondered what a British police autopsy procedural television drama featuring this bizarre ensemble would look like this is the film for you.
True to the style, the film starts with the end and jumps straight to a gruesome murder a woman gets dismembered in her Edinburgh flat by a hooded and caped man who just answered the door. (Like the rules of the subgenre state, you only glimpse bits and pieces of the murder, but you do get to see all the gory details during the subsequent crime photography.) “Why do serial killers have to include this cult nonsense all the time?” Jackson’s character says. But “this cult nonsense” is as good as expected. If you’re a killer in one of these movies and you don’t have concealed body parts in secret places, fun together with limbs and heads arranged in a cross portraying cryptic allusions to the Bible, can you really consider yourself a movie lunatic? I doubt it.
In all honesty, it would not hurt the cop characters to take some lessons from the murderer because the police work seems dubious, while the crime scene needed a good book, the Bible of course.
At a certain point in the film, the main cop, who is clearly Capaldi regardless of the promotional material’s clever suggestion that this is a two-hander with Jackson and Cassel, declares, rather excitedly, that he has uncovered a significant piece of evidence a key that does not seem to go with any of the woman’s locks in her flat. (And to think that this could be a clue, it better not be otherwise, I have incredibly horrific circumstances lying around my home!)
It’s been challenging lately for genre lovers of so-bad-it-’s-good films to seek out fresh content to consume primarily due to the excessive ironic winks to the camera and attempts at kitsch where becoming a successful meme is without a doubt the best marketing tool. But Damaged is not attempting to be a meme, it is taking itself extremely seriously and trying to be a serious police procedural in the fashion of 90s thrillers like Seven or Primal Fear. That earnestness, along with the apparent genuine engagement of performers such as Jackson, makes this ridiculously unapologetic film at the very least half-worth seeing.
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