Water and Power are twin brothers nicknamed so by their workaholic father; a blue collar worker at the Department of Water & Power of Los Angeles who insisted that you couldn't have one without the other. While Water is rising to the top in his illustrious political career, Power is caught up in a web of criminal deception as a cop in the LAPD, trying to keep the peace in the mean streets and struggling to work out whether he's doing a good job, or whether he is just like the gun-toting felons he's bringing in. After a particularly traumatic night, the pair reunite and find themselves in a motel room where they must join forces to survive - Water and Power have so many differences, but can they find common ground so they can work together just like their father always said they must?
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For the first 15 minutes we're treated to the back story of '80s gangster Wilson Deleon Sr. (Manny Perez), a hard-working, merciful Bronx drug dealer just trying to make his way in this crazy world. He has a child on the way; her shrewd mother, Millie (Wanda De Jesus) has just laundered all his street earnings into a sizeable nest egg. Of course, on the night she tells him to stay in, he goes out and, of course, that's the night she delivers and, of course, that's the night his crew betrays him and two ridiculously buxom assassins gun him down.
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Eastwood plays experienced FBI profiler Terrell McCaleb, who is forced into retirement after a series of heart attacks and transplants have kept him sidelined for two years. Armed with a new ticker and new meds, McCaleb returns to investigative work when a stranger named Graciela Rivers (Wanda De Jesus) requests that he find the ski-masked gunman who murdered her sister. His involvement garners fierce objections from his doctor (Anjelica Huston) and an envious police detective (Paul Rodriguez). To assist with his investigation, McCaleb enlists the help of his alcoholic neighbor Buddy Noone (Jeff Daniels), and his friend, Los Angeles sheriff Detective Jaye Winston (Tina Lifford).
Continue reading: Blood Work Review
The recipe for Joel Schumacher's post-"Batman" cry for redemption goes a little something like this:
Take one part "As Good As It Gets," but give the anti-social bigot a gritty, blue-collar bent and a debilitating stroke instead of an obsessive-compulsive disorder.
Add one part irritating drag queen movie ("To Wong Fu..." will do nicely) and two parts syrupy, medicinal social commentary.
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Clint Eastwood has a talent for turning cliché-riddled scripts into absorbing, solidly entertaining motion pictures that are far better than they should be. His scrupulous, unhurried and intelligent direction is why 2000's "Space Cowboys" wasn't just "Grumpy Old Men in Space" and why 1999's "True Crime" -- about a reporter with 24 hours to prove an inmate's innocence before his execution -- wasn't a movie-of-the-week.
He doesn't have quite the same success with the cop-vs.-serial killer thriller "Blood Work," in which he plays an FBI profiler forced to retire after suffering a heart attack during a foot chase with his nemesis, called the "Code Killer." Eastwood judiciously tempers the picture's more hackneyed elements, like the oh-so-scripted, come-and-get-me puzzle pieces the murderer leaves as clues. But so many scenes invite easy second-guessing of the hero -- and of the cops he works with when the bad guy resurfaces after Eastwood has recovered from a heart transplant -- that the movie's strengths are often obscured.
Two months after his surgery, Terry McCaleb (Eastwood) is tracked down onboard his modest fishing-boat home by a woman named Graciela Rivers (Wanda De Jesus) who believes he received her dead sister's heart. She has learned of McCaleb's legendary reputation as a detective and wants his help solving the murder that got him his new ticker.
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It's nothing like the country vibe we were anticipating.
The most exciting movies set to drop in the coming months.
Water and Power are twin brothers nicknamed so by their workaholic father; a blue collar...
Clint Eastwood is back to lay down the law and settle a new score....
The recipe for Joel Schumacher's post-"Batman" cry for redemption goes a little something like this:Take...
Clint Eastwood has a talent for turning cliché-riddled scripts into absorbing, solidly entertaining motion pictures...