'The Brave One' (R)(out of four)

No matter how audiences accept the new Jodie Foster revenge thriller "The Brave One" it should be, for the lack of better words, commended for its bravery. Of course, it's taking head on the controversial subject matter of vigilantism. But also along the way, director Neil Jordan honors a script full of risky moves and makes no apologies for the brazen truthfulness that, given the touchy-feely "let's not offend anybody" nature of the business these days -- flies completely in the face of Hollywood convention.

Foster delivers another electrifying performance as Erica Bain, a radio talk show host whose show originates on the streets of New York, where recording the nuances of a city that appears to be safe in a post 9/11 world. Everything in her life appears to be perfect, until an evening stroll in Central Park with her fiance, David, ("Lost" star Naveen Andrews) turns deadly, and a gang of thugs brutally beats the couple -- leaving David dead and Erica clinging to life.

Awakening weeks later to the news that David is dead and buried, Erica slowly tries to return to her old life but is paralyzed by fear and paranoia. Those feelings are soon erased, however, when she compulsively obtains a handgun for her own safety. But that sense of protection turns to murderous vengeance once Erica begins to encounter criminals in all corners of the city, from convenience store killers and subway thugs, to corrupt businessmen who live above the law.

Basically, she's taking the law into her own hands, echoing the cinematic plight of the vengeful "Taxi Driver" Travis Bickle, and dredging up the memories of real-life subway vigilante Bernie Goetz.

The only one who's even close to suspecting Erica of any wrongdoing is NYPD Detective Mercer ("Crash" and "Hustle and Flow" star Terrence Howard, in yet another remarkable, understated performance) -- an intuitive inspector who's fascinated by Erica's psyche as a frequent listener to her radio show. It's only when there's a break in David's murder case and Erica finds out who the perpetrators are where Mercer is forced to step into a shoes of a person torn between his personal and professional convictions, and what the law dictates.

Given Foster's impressive track record it shouldn't come as a big surprise that she brings Erica to life in a subtle, intense and complex manner, making her gut-wrenching internal pain feel real. No, Erica is not the sort of character that locks and loads with belts of ammo with plans to come out with guns a-blazing -- but rather leads a guarded existence as a torn soul struggling to suppress the guilt of who she's become and the fear of whether or not she can stop herself; and dealing with the uncertainty of whether she'll be able to return from the dark path she's embarked upon.

Among the bold moves "The Brave One" is its unflinching resistance to political correctness, and the sure cries from activists who will likely try to protest that the film is guilty of stereotyping and criminal profiling. But it doesn't take long when you're viewing the film (something protestors don't always do) to realize that evil Erica encounters -- including herself to a certain degree -- comes in all races and genders. It was a smart move by Jordan to clearly define that everybody is capable of being bad. To do otherwise would have done the film an injustice.

Yet, while "The Brave One" isn't afraid to take on some controversial topics head on, it wisely steers clear of other ones. Most notably, it doesn't take any stands politically. It doesn't argue that our gun laws are good or bad, or effective or not.

For the most part, it places the weight of the heady proceedings on the shoulders of one individual and the moral consequences she suffers as a result of her actions. Instead of trying to dole out the blame for society's ills, "The Brave One" effectively places you in Erica's shoes, leaving you to ponder what you would do in her situation. And those thoughts aren't easy ones to shake after the credits begin to roll.

"The Brave One" does have its weak spots, as Erica once and again puts herself in precarious situations that seem uncharacteristic for someone who recently had been brutalized. Solid actors like Mary Steenburgen also show up in the film, but in the case of Steenburgen, she's underused as Erica's radio producer, leaving you to question why a "name" was needed for the role in the first place. It's conceivable, though, that part of Steenburgen's character was left on the cutting room floor.

Shortcomings aside, Jordan -- who first dizzied audiences with the out-of-left field twists and turns of "The Crying Game" -- is masterful once again at the helm of "The Brave One." He drops a shocker in here, too, which few, if any, will see coming.

The beauty is, even without the twist, which concludes the film, "The Brave One" would only have lost its shock, but not meaning. It's something you can't avoid -- even by putting on a brave face.