Far from an impressive or transformative feature, it does the basics well, and uses its strengths to pulse through the tension
Police/crime dramas are essentially their own sub-genre at this time, often transcending actual genres, reaching into comedy, horror and naturally action. Black And Blue however comes as part of an even smaller niche, focusing on the historic racism within the US police force. Pairing with films like Monsters And Men and Blindspotting, Black And Blue has absolutely no fear when saying exactly what it wants to, in the most full frontal way possible.
New academy graduate Alicia (Naomi Harris) takes up an extra shift covering for her partner Kevin (Reid Scott). When out on patrol, Deacon (James Moses Black) exits the car into an abandoned warehouse. But when Alicia witnesses a cold-blooded murder, she becomes the new target, with her body cam filming the entire event.
By using it’s themes as a background rather than making them the feature’s purpose, director Deon Taylor makes his greatest decision, offering the story in the light it was written, but still supplying the action a story like Black And Blue’s requires. It may not be the most pulsating watch of 2019, but it’s absolutely a film with the right intentions and a cinematic edge.
Add in a great lead performance from Naomi Harris, an actress far too often left to cover side and supporting roles, and Black And Blue shines with it’s quality. Far from an impressive or transformative feature, it does the basics well, and uses its strengths to pulse through the tension.
It is predictable, and all too often cliched, but Black And Blue is an important part of American cinema. It continues the pressure on policing within the United States to get things right, and despite not being the perfect feature, it’s intentions are certainly enough to make it a worthwhile watch.
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