Blood Work Review
by John Sylva (DeWyNGaLe AT aol DOT com)August 13th, 2002
BLOOD WORK (2002)
Reviewed by John Sylva
(C) 2002, TheMovieInsider.com
Clint Eastwood and Woody Allen ought to create a coalition in celebration of the enduring careers of a filmmaking generation old enough to be grandparents of the modern one. They, of course, would be two of the premiere members. Eastwood, 72, and Allen, 66, are two of the few directors who continue to cast themselves in films where they portray characters who are generally better suited for younger, fresher blood. Three cheers for the former director though for finding a character who perfectly accommodates both his legendary reputation as the epitome of leading man and his aging status with his latest directorial effort, Blood Work. Here, Eastwood is Terry McCaleb, FBI agent turned boat-dwelling "lone ranger" who's recovering from a heart transplant he underwent after suffering an ill-timed heart attack. McCaleb's the kind of laid back, strong-minded protagonist that several other older actors have attempted to rejuvenate their careers with (Robert Redford's turn in last year's Spy Game being another case), serving as an effective albeit undemanding outlet for Eastwood's talents. So watching Eastwood's strong work as the likable McCaleb defeated by the terribly-constructed screenplay (based on Michael Connelly's novel) by Brian Helgeland, whose screenplay for the similarly toned L.A. Confidential was a gem, and also by Eastwood's own vapid direction is sorely depressing-especially considering that, paralleling McCaleb's situation, the biological time-clock for this Hollywood icon is ticking.
Going against his doctor's (Anjelica Huston, in a throwaway role) disapproval, McCaleb begins a hunt for the man responsible for murdering the woman whose heart he now preserves. The mission comes about after her sister Graciella (Wanda De Jesus) pursues him, catching his interest not only in her sister but her own affection as well. The one time media star is determined to overcome the various boundaries facing him-a pair of crooked police officers (Paul Rodriguez and Dylan Walsh), his doctor's denunciation, his ailing health-to give something back to the donor he never met. As McCaleb theorizes, solving her murder is the least he can do considering he'd be dead if she wasn't. The film seems inclined to make a statement about the responsibilities of receiver to giver, yet Blood Work never makes anything of this interestingly complex setup. After the search begins, the earlier humanistic qualities are shed for the most part as the proceedings skew towards more conventional crime drama traits of red herrings and interrogator-interrogated showdowns that produce aggravation rather than tension. This all would be fine if screenwriter Helgeland achieved something from the occasional corkscrews presented to throw everyone off and the pieces of the puzzle that seem to be leading McCaleb in one direction but then take him in another altogether. But, by the film's infuriating climax, the film becomes far more concerned with the gimmickry of the genre than its essence.
Although it's common knowledge that Eastwood would come out triumphant in a battle against modern action heroes such as Ben Affleck and Vin Diesel any day of the week, if films like Blood Work are any indication, I'm beginning to wonder if this is still the case. Watching Eastwood constantly grabbing at his chest, leaning against nearby walls, and being attacked by younger, more athletic individuals may provide the viewer with a sense of realism considering the actor's age, but for entertainment purposes, I think audiences much rather see him at the top of his game, even if this does mean pushing the boundaries of believability. That's not to say McCaleb doesn't have his moments, though: A shootout outside a convenient store proves Eastwood can still compete with the best of them. This is a likable character with a dry wit and big heart that makes this film more catching than the script alone would allow, but, all in all, Blood Work is as tired and afflicted as its protagonist. Relationships McCaleb shares with several individuals, his boat neighbor Buddy Noone (Jeff Daniels) and police contact Jay Winston (Tina Lifford) being two of them, provide a much-needed vitality to the proceedings, yet the viewer's attention still can't be wavered from how typical and tired everything else here is. Before your next big screen endeavor, Mr. Eastwood, follow the advice of many a character in this film: Get some rest. And be sure to find a better script while you're at it, too.
GRADE: C-
Film reviewed August 12th, 2002.
Originally posted in the rec.arts.movies.reviews newsgroup. Copyright belongs to original author unless otherwise stated. We take no responsibilities nor do we endorse the contents of this review.
