Dark Crimes, a 2016 psychological thriller directed by Alexandros Avranas and released in limited theaters and on VOD in 2018, represents one of the most dramatic departures in Jim Carrey’s career. Known for his elastic physical comedy and manic energy in films like Ace Ventura, The Mask, and Dumb and Dumber, Carrey here delivers a restrained, brooding, and deeply unsettling performance as Tadek, a Polish detective consumed by obsession. The film, loosely based on a 2008 New Yorker article by David Grann about a real-life murder case in Poland, strips away every trace of Carrey’s signature humor, plunging him — and the audience — into a cold, gray world of guilt, deception, and moral decay.

The story follows Tadek, a detective in an unnamed Polish city, who becomes fixated on a high-profile murder case: the brutal killing of a successful businessman and his family in their home. The prime suspect, a reclusive novelist named Kozlov (played by Marton Csokas), has written a book that chillingly mirrors the crime down to the smallest details — including aspects never released to the public. As Tadek investigates, he crosses ethical lines, becoming increasingly entangled with Kozlov’s enigmatic wife (Charlotte Gainsbourg) and the novelist himself. What begins as a professional pursuit morphs into a personal nightmare as Tadek questions his own sanity, morality, and the very nature of guilt.

Carrey’s portrayal of Tadek is the film’s strongest element. Gone are the wild facial contortions and elastic physicality; in their place is a man of quiet intensity, haunted eyes, and tightly coiled rage. The actor, who had largely stepped back from dramatic roles after Eternal Sunshine of the Spotless Mind, committed fully to the part — learning a Polish accent, immersing himself in Eastern European police procedure, and maintaining a grim, almost ascetic demeanor throughout filming. Critics who once dismissed Carrey as a “comic actor” were forced to reconsider; many praised his ability to convey profound inner torment with minimal dialogue and maximum restraint.

The supporting cast adds depth to the bleak atmosphere. Charlotte Gainsbourg brings icy sophistication and subtle menace as the novelist’s wife, while Marton Csokas delivers a chilling performance as Kozlov — a man who may be a cold-blooded killer or simply a brilliant writer who stumbled onto an uncanny coincidence. The film’s visual style — muted colors, stark lighting, and long, silent takes — amplifies the sense of dread and isolation, making the unnamed Polish city feel like a character in its own right.

Yet Dark Crimes is not without flaws. Some critics found the pacing slow and the plot overly familiar, echoing themes from films like Zodiac and True Detective without fully distinguishing itself. The script, adapted by Jeremy Brock, occasionally leans too heavily on ambiguity, leaving certain questions — particularly about Kozlov’s guilt — frustratingly unresolved. The film’s tone can feel relentlessly dour, and its refusal to offer catharsis or clear answers alienated some viewers expecting a more conventional thriller.

Despite the mixed reviews, Dark Crimes stands as a pivotal work in Carrey’s filmography. It proved he could disappear into a serious dramatic role, shedding the clownish persona that had defined him for decades. The performance earned quiet admiration from critics and reminded audiences that Carrey’s talent extends far beyond comedy. For fans willing to see him in a new light, the film offers a haunting portrait of obsession and the blurred line between justice and vengeance.

Ultimately, Dark Crimes is not an easy watch. It is slow, somber, and deliberately uncomfortable — a stark contrast to the manic energy of Carrey’s earlier work. Yet that very discomfort is what makes it linger. In trading laughter for dread, Carrey delivered one of his most courageous and compelling performances — a reminder that even the brightest stars can thrive in the darkest corners.