★★ / ★★★★
A dead girl with twelve stab wounds is found at dawn and a suspect (Ben Crompton) is immediately apprehended. When brothers Joe (Paul Bettany) and Chrissie (Stephen Graham) search Jason’s place, they find the girl’s bangle as well as some photos that suggest that the man has been following her for some time. And yet despite these, there is not enough evidence to keep the man locked up and so he is released. Convinced that Jason is the killer, the brothers kidnap Jason and take him to an island where their father (Brian Cox), former chief of police, used to take suspects and beat them until they confess. By the end of the night, there is a second murder case.
Though I did not know much going into it, I had a sneaky suspicion that “Blood,” written by Bill Gallagher and directed by Nick Murphy, is based on a mini-series. The elements are present in order to tell a story with depth, intensity, and intelligence but one gets the feeling that what is ultimately put on screen is merely the surface. As a result, the picture feels like a good television show that is going through a mediocre episode that won’t end.
The acting keeps the material barely afloat. Bettany and Graham inject appropriate level of gravity to their characters as they increasingly deal with the pressure of keeping a secret under wraps. It is interesting that Bettany plays the sibling that one does not necessarily expect to have a certain darkness in him while Graham, the more brutish one, at least at first glance, turns out to be the more gentle of the duo. Despite solid performances, Joe and Chrissie’s relationship fails to take off. The characters are underwritten and we do not get a complete picture of them as brothers, detectives, and men wrestling with guilty consciences.
Instead, I caught my interest moving toward the man who has a gut feeling that the two might know something about the suspect’s disappearance. Mark Strong plays Robert, a fellow detective in the force, like an enigma. We learn that he has worked with the brothers’ father and their relationship was cold to nonexistent. Robert was afraid of Lenny. So it begs the question: Is Robert honing in on Lenny’s sons for purely professional reason—or is it personal? I believe the answer is both. However, again, the screenplay does not delve into the character deeply enough to make him truly compelling.
The film has a nasty habit of providing clear-cut answers. Crime movies, especially this kind, thrive on a bit of mystery—not necessarily when it comes what is being investigated but that of the characters’ psychology, what they might be thinking or going through when they have to deal with the demons of their fellow men.
Perhaps “Blood” might have been better left as a mini-series. While it does have some good performances, it does not have the required texture and pacing of a suffocating—but compelling—crime drama-procedural. When it hits a corner content-wise, it takes shortcuts by summoning convenient coincidences. Spoon-fed audiences are almost always not engaged and certainly not challenged.