Dead Man Down is a good neo-noir in it’s own right–writer J.H. Wyman (Fringe) has penned a thriller that shows a mastery of the romance-action-thriller genre,  the leads are par for course, and there are some exceptional cameos, though it can only compare with other successful international thrillers in the vein of Nicolas Refn because of the tenacity of his camera and art department.

Colin Farrell as Victor is the opposite of the outspoken tool from In Bruges and more in-line with the renegade character he played in Total Recall. He’s good as a introspective and complicated character driven by vengeance, but sometimes seems too blaise. A date with Beatrice (Noomi Rapace) begins a rather weird relationship that is at first stilted, awkward and their exchanges too clippy, but then when it’s revealed that Rapace is extorting Farrell, makes what should be a daring shift in tone. But it doesn’t stick.

The score compensates for the lack of chemistry again and again, despite aggressive eye contact and the desperation and desire shared between the character’s back stories. Part of this is due to their subplot being underwritten in the second act, but I place just as much blame on Rapace who doesn’t do much to make herself appear more than a victim of the story and circumstance–her character just becomes a tool to screw up Farrell’s own mission. The balcony scenes between them are most forced.

Prolific character-actor Armand Assante gets a nice bit as one of the several villains in this film, and it’s nice see Isabelle Huppert among the international cast. She plays a character that seems at least a generation older than she is. I hope this wasn’t a bad career move on Huppert’s part, who has demonstrated her dynamic ability in several roles like The Piano Teacher and last year’s A’mour. Dominic Carter as Darcy, is the most dynamic as Farrell’s naive best-friend who is unknowling unravelling his buddy’s persona.

Production designer Niels Sejer (The Girl with the Dragon Tattoo, A Royal Affair) and cinematographer Paul Cameron (Total Recall, Man on a Ledge) have created a brilliantly crafted visual aesthetic. The film features blown out highlights, a cool color palette, and an exterior lighting scheme associated with Farrell’s psycho-state. Overcast New York skylight reaches into Farrell’s empty bachelor pad whereas Rapace’s home is chic and decorated with accents of green and orange. This otherwise comfortable space seem totally alienating to our lead. In a night scene, Farrell comes back to the site of his family’s murder, the electricity cut, wallpaper sweltering on the walls, orange street lamps from outside create stark shadows across hardwood, he seems in his natural, if haunted, element.

This comes to the fore in the final scene when Farrell crashes his truck into the home of crime-boss Alphonse. The interior, which looks like it belongs to a politician, is literally turned inside-out

with the fire sprinklers pouring down like rain.

Niels Arden Oplev, is due credit for bringing together an outstanding international ensemble. But the miscasting of the two leads proves damaging, and results in a viewing experience that loses the intended effect, instead coming off as plodding and lethargic.