Blond. Purple | Cinematic threat

Blond. Purple is in a sub-genre of film that I’ll never get tired of: The Heist Thriller Gone Wrong. I love them, top movies like Kubrick’s The slaughter, Peckinpah The Getaway, and that of Lumet Dog day afternoon less grandiose outings like that of Roger Avery Kill Zoe, Bill Murray Quick change, and that of David Mamet Robbery. There is something about the study of human nature at the height of pride and survival that fascinates me endlessly.

Writer / Director Marcus Flemmings’ Blond. Purple ticks all the boxes of this sub-genre. A morally conflictual track attracted by a “low and dirty” job? To verify. A crew of sketchy criminals whose confidence can overshadow their abilities? To verify. Negotiations at the foot of the wall to try to escape? To verify.

With more than a tip of the hat to pulp Fiction, the action thriller shuffles the narrative before delivering it to the audience. We start moments after work, with our leader Wyatt (Julian Moore-Cook) exchanging words over the phone with a crisis negotiator. Because work didn’t necessarily go as planned, Wyatt finds himself with a deceased partner and a precocious teenager (Ellie Bindman) held hostage.

“….the work did not necessarily go as planned, Wyatt finds himself with a deceased partner and … a hostage.

Through several flashbacks, we get a glimpse of how it all happened. We feel comfortable with all of the supporting players throughout the run as they are shot based on the story. Fortunately, Flemmings has assembled an extremely talented cast. From her main roles Moore-Cook and Bindman to supporting characters, such as Nath (Adam J. Bernard), veteran criminal (and apparently film scholar), femme fatale Saida (Jennifer Lee Moon) and mentally unstable Ant (Richard Sandling) ), everyone is given time to shine. Sadly, the storyline gives the formidable cast far too much inconsequential dialogue that will make a great sizzling reel for the cast, but deflects any narrative momentum the filmmaker is trying to build.

At some point in Blond. Purple, Nath says, “Me and my old friend Sadie here are chatting. Not often you can just sit back and ruminate, ”but within a couple of hours more, it looks like the movie has plenty of time to do just that. And the more he discusses such topics as the origin of the Screwdriver (the drink), sports, pets, the difference between a movie and a movie, the less human all these characters start to feel.

As fun and precise as some of the dialogue is, too much has nothing to do with the central plot. The film feels like it’s in love with its own voice. Speaking of which, Flemmings chose to bring this to the US with an all-UK cast. While prospects mostly nail it, they are invited to deliver endless pages of dialogue; The Queen’s English will inevitably break through from time to time.

Blond. Purple definitely worth seeing to witness the stellar turns of its tracks. In addition, the Tarantino / Rtiche of Flemmings the stylized affinity feels authentic. But padded at over two hours and filled with Philosophy 101-style musings, the production fails to find its own voice. The director spins the narrative roulette wheel, smashing it with title cards that tell us where the following scenes are located and finds minimal success.

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