When an ex-vet turned cop has a life or death decision to make, she must choose between Black and Blue.
Alicia West (Naomie Harris) is a rookie cop in New Orleans, ready to make a difference after her military career in Afghanistan. She is hopeful and eager to pull her weight, so when she takes an extra shift she gets more than she bargained for. Instead of a long overnight haul with crotchety veteran cop Brown (James Moses Black), she narrowly misses botching up an arrest and annoys Brown, who makes an unusual stop at an abandoned warehouse. Left on her own, she hears gunshots and when she investigates, witnesses the murder of a local drug dealer by a gaggle of dirty cops including Brown, the shooter being narc detective Malone (Frank Grillo). Alicia’s body cam has recorded the whole incident, and she becomes a target for the crooked cops. With the impoverished neighbourhood suspicious of the police, and only a reluctant old friend Mouse (Tyrese Gibson) to help her, she must keep herself alive and get the recording to the right authorities.
Alicia (Harris) and Mouse (Gibson) on the move.
Black and Blue was better than I expected. It followed the typical suspense crime thriller formula, but it had a really interesting horror bent that reminded me of classics like Candyman. Call me crazy, but there were so many familiar camera angles and beats punctuated by Geoff Zanelli’s heavy, overwhelming score the horror influence was hard to miss, and it worked. Considering the director Deon Taylor has made a few horror films plus the recent thriller The Intruder with Dennis Quaid and Megan Goode, this isn’t a surprise. With life in a forgotten neighborhood ravaged by Katrina and never repaired, and people living in rundown buildings without the intervention of law enforcement, everyday terror was driven home with a jackhammer at times, but the point was well taken.
Writer Peter A. Dowling, who has a history in the horror genre as well, was somewhat heavy-handed with the script at times and I normally don’t give much leeway to a white writer creating characters of color, but he was clever with his choice for a protagonist. Race relations these days is most certainly a hot button topic and will most certainly incite passionate debate about where law enforcement stands with Black people. Too many have died because of an abuse of power, and to be a black person, a black woman for that matter, who makes the choice to be a police officer carries a heavy burden. Harris seemed to played Alicia with this in mind, emphasizing West’s rookie status by being both hopeful and leery at the same time. Gibson was impressive as the stoic Mouse who just wanted to get by and avoid the drama of drugs and police brutality. The emotion he showed was touching and poignant. I can’t forget Frank Grillo’s snarling rendition of a dirty cop which was what this movie called for; a culmination of what people fear in an authority figure abusing their position.
Although some may find Black and Blue to be a touch melodramatic, you can’t deny the social commentary with excellent performances from Gibson and Harris. It might not change the world, but like Alicia says, it’s a start, and one to a conversation that’s long overdue.
Black and Blue opens October 25.
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