Black and Blue: Bargain-basement chase flick like an echo from a lost age

Review: This often-violent film that paints a grim picture of inner-city decay swivels unconvincingly to happy-clappy

Naomie Harris in Black and Blue
Naomie Harris in Black and Blue
Black and Blue
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Director: Deon Taylor
Cert: 15A
Genre: Thriller
Starring: Naomie Harris, Tyrese Gibson, Frank Grillo, Mike Colter, Reid Scott, Beau Knapp, Nafessa Williams
Running Time: 1 hr 48 mins

We should, perhaps, be grateful that studios are still putting the odd mid-budget cop thriller into cinemas. A decade or so ago, Black and Blue, a busy pursuit thriller set in New Orleans, would have generated decent business on Saturday nights. Now it feels like an echo from a lost age.

We should also be grateful that Naomie Harris, among the best of her generation, gets a decent leading role as an African-American cop who sees too much for comfort. And the film works for a while. Coming across like bargain-basement Lumet, Black and Blue sends Alicia West (Harris) on an unexpected shift with a hitherto unfamiliar colleague. Following various contrived circumstances, she witnesses cops executing a drug dealer and – after recording the offence on her bodycam – flees into a consistently unfriendly city: neither cops nor African-American citizens are her friends.

Black and Blue initially gets by on momentum and righteous anger. The film is clued into institutional racism and the challenges facing a working-class black woman in the police force. Harris has just the right sort of stressed charisma to convince as the prey in a desperate pursuit.

Unfortunately, the clichés and absurdities mount so rapidly that, by the halfway point, it proves hard to care about her predicament. There is always a handy pile of boxes to break any falls from treacherous fire escapes. Mike Colter barely manages to contain his embarrassment as a drug supremo whose character seems composed from discarded cut scenes in Grand Theft Auto. The script never fully sells its central premise: Alicia just has too many escape routes open.

This might be tolerable if Black and Blue didn’t collapse into still-more unconvincing saviour mode in its closing 15 minutes. This is an often-violent film that paints a grim picture of inner-city decay and the specific betrayals visited on New Orleans. As the credits loom, however, it swivels towards happy-clappy solutions that betray the modest cynicism that has come before.

Move on, folks. Nothing to see here.

Opens on October 25th

Donald Clarke

Donald Clarke

Donald Clarke is Film Correspondent at The Irish Times