Black and Blue
Time Out says
Despite the best efforts of Naomie Harris, this generic cop thriller should be handing over its gun and its badge.
The credits at the end of Black and Blue list not only “Stairwell Bad Guys” but “Apartment Bad Guys,” which is about as deep as characters get in this slice of cop piffle. It is a film in which someone asks “You all right?” while their friend, having just been shot, leaks blood. A film that would be over very quickly were anyone to say or do anything remotely sensible.
It’s absurd that this movie is the hugely talented Naomie Harris’s first leading role—a shame. She is great as a principled rookie who joins the force in New Orleans only to be immediately faced with institutionalised racism and endemic corruption. Thanks to preposterous plot machinations, she witnesses her colleagues murdering a couple of local hoods and, with the footage captured on her body cam, she’s in hot, murky water.
The potentially interesting conflict is suffocated by a B-movie story and a C-grade script. Plot spills out of these people’s mouths. With less substance than a Grand Theft Auto mission, there is no weight, no meat, but certainly, where the dialogue’s concerned, a lot of cheese. It is the quattro formaggi of corrupt-cop films. Nevertheless, there is dumb fun to be had here: Black and Blue is propulsive enough, and you root for Harris and her sidekick, Tyrese Gibson, who do what they can to survive their trip to Trope City. There is even one funny line. The film could have maybe done with a few more.
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