In "Edge of Darkness," Mel Gibson returns to the screen after a nearly eight-year acting sabbatical and he's back doing what he does best. That would be kicking butt and taking names.

Based on a British TV miniseries, this is a solidly crafted revenge yarn that seldom allows your attention to wander.

Gibson plays Tommy Craven, a Boston cop and father of a grown daughter. Mom has apparently been long out of the picture.

Bojana Novakovic plays Emma, the daughter. She's the light of her father's life. Emma's home for a visit when she gets ill. As father and daughter head to the doctor's, a shotgun blast takes Emma's life.

Everyone assumes that Tommy was the intended victim and he begins to search his memory for anyone who might have a grudge. When he finds a gun among Emma's possessions, he starts to question that theory and delve into his daughter's professional and personal life. Emma worked in the research department for Northmoor, an independent company with government affiliations. It specializes in nuclear research and development.

Northmoor's head is Jack Bennett, played by Danny Huston. Huston's a master at white-collar sleaze and he turns it on full throttle. No mystery here. You only have to look at his tanned face and immaculate grooming to sense his corrupt core.

More ambiguous is the character of Jedburgh, played by the estimable Ray Winstone. He's a burly and mysterious government agent who specializes in cleaning up messes. Jedburgh feels a sympathetic connection with Tommy but is he going to help him or kill him?

Director Martin Campbell was involved with the British TV version of "Edge of Darkness" and directed "Casino Royale," the first of the realistic and down-and-dirty Bond movies starring Daniel Craig. He recreates that same kind of atmosphere here.

To its credit, "Darkness" has a vintage '60s and '70s feel. Despite moments of intense violence, it has interludes of interesting conversation as it peels away the multi-layers of corruption.

Some of the plot turns strain believability but the movie's tone, craftmanship and performances offset its shaky patches.

Much to their credit, the filmmakers had the good sense to make room for a character like Winstone's. He nearly steals the movie from Gibson. But Mel is back and he's bad.

Gibson nails the character of a grieving father who channels his sorrow into a mission of revenge. Despite his nutty off-screen antics, he remains a two-fisted movie star on screen, if given the right vehicle.