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“Black and Blue” is a B-movie through and through, and that’s a compliment in this case.
Director Deon Taylor has crafted another muscular thriller, which will be released just a few months after the release of the criminally underappreciated stalker drama “The Intruder,” which had audiences screaming at the screen. The lean, direct simplicity of these genres appears to appeal to him, and he executes his own vision of them with stronger casts and higher production values than you might expect.
Using both her physical strength and emotional subtlety, Naomie Harris brings this story of a rookie cop who becomes the target of her corrupt colleagues to a whole new level of excellence. Experienced cinematographer Dante Spinotti—a frequent collaborator of Michael Mann’s and a two-time Oscar nominee for his work on “The Insider” and “L.A. Confidential”—creates moody, evocative images of the film’s New Orleans setting that significantly contribute to the overall sense of menace in the film.
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However, it is only when “Black and Blue” attempts to be about something heavier and more substantial that the film loses its way and seems to drag on interminably for no apparent reason. The subject of racism and the police, unfortunately, could not be more timely. People of color are unnecessarily profiled and targeted in cities across the United States, with the result that far too many of them are killed or injured. In an attempt to halt this troubling trend, Peter A. Dowling’s script makes extensive use of the type of body camera that is essential to the story’s forward momentum. To a large extent, all of those ideas are baked into the story; it isn’t until the characters begin to explain their motivations and actions, leading to a series of false endings, that “Black and Blue” begins to slog into excessively long territory.
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“Black and Blue,” which has echoes of “Training Day,” finds Harris’ idealistic Alicia West learning more than she could have imagined just three weeks after joining the police force. Former member of the United States Army who served tours in Afghanistan, Alicia has returned to her hometown and discovered that her old neighborhood is even more dangerous than it was when she left. During the course of the novel, Taylor depicts one particular housing project as a horrifying concrete crucible, a place where its residents are reduced to their most primal instincts in the name of survival.
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In exchange for working an extra shift to allow her partner (Reid Scott) to go on a long-planned date night with his wife, Alicia is introduced to a new group of officers and narcotics detectives, all of whom make her feel even more insecure about her newfound position. When it comes to her character’s search for an identity and a place that feels right, Harris vividly captures the shading. Her mother has recently passed away, and she has no other relatives. The fact that she is a native New Orleanian but has been away for a while causes the locals to regard her as an intruder in their city. She is black, but she is also a police officer (or blue, as the title suggests), and so while her old friends and neighbors no longer trust her, neither do her new co-workers. If you look closely, you can see how she is feeling lonely, as she flinches a little when she attempts to be friendly to a 10-year-old boy outside a run-down convenience store only to be rebuffed in return. A couple of patrol officers stop her for no apparent reason while she’s out for a morning jog in a hoodie in the film’s suspenseful opening sequence, only to treat her even more harshly once they realize she’s also blue.
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When Alicia witnesses a white detective (played by Frank Grillo in his gritty comfort zone) fatally shooting a young black man, she asks herself, “Are you one of us, or are you one of them?” This question hangs over the entire film, even before she witnesses another narc shoot at her repeatedly, all of which she captures on her body camera. In the remaining minutes of the film, Alicia must race against the clock to get back to police headquarters in time to upload the video into the system, all while increasing numbers of her fellow officers are chasing after and closing in on her. “Black and Blue” is primarily compelling because of the pervasive sense of paranoia and the suspense of the chase that permeates the story. Taylor understands how to stage a chase in a clean, coherent manner, despite the fact that the overbearing score tends to drown out the inherent drama of these scenes.
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Alicia, on the other hand, isn’t just on the run from the cops who want to put her out of business. She also has to stay away from Darius (a swaggering, smoldering Mike Colter), the neighborhood’s reigning drug dealer who happens to be the uncle of the shooting victim, because the narcs have falsely accused her of the murder. Mouse (a stoic but kindhearted Tyrese Gibson), a childhood friend who runs a convenience store and provides her with a safe haven, is her only support system.
In this big-city Western, the good guys turn out to be bad and the bad guys turn out to be even more complicated than they appear—a modern-day film noir in which a wrongly accused character attempts to clear her name before it’s too late. Despite the fact that “Black and Blue” is a story that you’ve probably heard before, it’s a solid version of one.
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