Deuda de sangre

Retired FBI detective helps a young woman solve the murder of her sister--but he's got a personal motive: he himself received a heart transplant from the victim! Not a bad vehicle for Eastwood, convincingly raspy and worn, and still imposing when he has to be. Brian Helgeland's screenplay via Michael Connelly's novel is full of police clichés, and the denouement isn't terribly surprising, but Clint has become a reassuring presence on the screen: his shortcomings and realistic aches and pains make him wonderfully human. Supporting cast including Jeff Daniels and Angelica Huston is also good, making the best out of a routine, unmemorable script. **1/2 from ****

In "Blood Work" Eastwood plays an FBI agent, recovering from a heart transplant, who is asked by the sister of the murdered woman whose heart he received to find her killer. The result is surprisingly even and interesting murder mystery in which we see Eastwood piece together the evidence pointing to the killer while dealing with heart transplant issues and making nice with his pro bono client. The film has fewer plot holes than most murder mysteries; leans more toward human interest than derring-dos; and is another example of Eastwood successfully pushing out the age envelope in a self-directed film product. Recommended for more mature couch potatoes into murder mysteries. (B)

Clint Eastwood's 20th feature directed and starring himself, Blood Work, is a good sign in times of recent thriller drek. Here is Clint, 72 years old, and actually doing the right thing; being the old sort of Dirty Harry-esquire type of cop while still being realistic with himself. Truth be told, he won't do movies forever, much less be a cop with almost all the right moves, and here we see him as FBI Agent Terry McCaleb in the beginning try and climb a fence to catch a code killer (which resonates from past Eastwood projects) and he collapses from a heart attack (sad but oddly accurate). He retires, and two years later a woman comes forth to him asking for help in finding a killer.

And anyway, what makes Blood Work so fascinating (if only up to a point if seen more than once) is that it's a well crafted thriller, one that has the usual police procedural from many years back, a bit of a romance with Wanda DeJesus, and comic relief from Jeff Daniels. So, if you decide to see this latest installment in the sprawling career of Clint Eastwood, keep in mind that it has all the style, music, and nostalgia even in donuts that it had back in the day 30 years ago. And maybe it's just me, but it will be hard not to grin when you see him grab a gun. B+

While it might not be the most stylish or fast paced manhunt thriller, Clint Eastwood's 'Blood Work' is still a very enjoyable piece of film. Stylish in its' own manner, this drama returns to the yesteryears of filmmaking and displays Eastwood's talent as an accomplished Director. Today's cinema heavily relies on nifty editing effects and fast paced dialogue to retain the interest of the impatient audience, yet Eastwood gives us a refreshing and simplistic tale revolving around the resolution of various dastardly murders.

Eastwood stars and directs in this manhunt thriller that still manages to retain the intriguing effect in a film in which the characters; not actions, drive the film. Based on the novel by Michael Connelly, Brian Helgeland (A Knight's Tale, Payback) transforms the novel into a great script. In this film, Eastwood plays the anti-Dirty Harry in typical Eastwood fashion as he is thrust back onto the case of a vicious serial killer two years after retirement.

As FBI Agent Terry McCaleb, he is forced off the case after suffering from a near fatal heart attack. Two years after, he is given a new heart and through a freak occurrence with the donor's heart, he is forced back onto the case allowing for an interesting cat and mouse chase.

Eastwood has his imprints all over the film as he sticks with Musical composer Lennie Niehaus for his film once again. Niehaus' sporadic and rare musical additions are usually jazz based and open the film in an elegant manner instead of the usual commercialist propaganda that is not needed when opening a film of this nature.

Instead, Eastwood treats us to a good old-fashioned hunt in which the mystery slowly unravels in front of the viewer allowing for only the clues to be deciphered. The plot is seemingly eerie and for some reason reminded me of Screenwriter Andrew Kevin Walker's work (Sleepy Hollow, Seven) for how deliciously evil and calculated the motives for the crimes are. As a true professional, Eastwood lays low on the violence and while there are only a handful of action scenes, the tension builds as the clues become available and the audience begins to piece the puzzle together.

The ingenious script calls for some sold acting and the casting is excellent as Eastwood calls upon Angelica Huston as his perseverant Doctor and Jeff Daniels who at first seems to be only present for comic relief but has a surprisingly more important and unexpected role. Wanda De Jesus and Tina Lifford are also excellent as they round out the important cast members who all play a giant role in the serial killer's meticulous and mischievous plot.

As aforementioned, while it might not elicit the suspense thrills one would find in the Eastwood - Wolfgang Petersen collaboration 'In the Line of Fire', the film still is a well-crafted and engineered film that calls for attention. Yet, one point of contention is a love relationship that happens in the film. True: Eastwood is a legend and could do whatever he wants with his films, but somehow seeing a man his age hook up with a younger woman under those circumstances seemed to yell out 'insanity'. Perhaps to others it fit the film, but in this particular context, it seemed trivial and contrived and can make many wonder if Eastwood simply puts those scenes in to make himself appear to be the epitome of masculinity. In any event, it was a treat to see a 'back-to-basics' thriller that pays off at the end and avoids the formulaic clichés usually attached to these projects.

Giancarlo's Rating: **1/2

'Blood Work' sees actor/director Clint Eastwood ease into a more traditional, mature and work-heavy detective story based upon Michael Connelly's novel. We follow that of FBI profiler Terry McCaleb on the trail of a serial killer who likes to play games with him, before his heart eventually gives up on him during a chase. He's a cardiac patient that receives a heart from a murder victim, and the donor's sister asks him to come out of retirement (which is two years after the heart-attack) to use that second chance to help find her killer.

After an excellently dark, brooding opening it goes onto settle for a cruising old-fashion, but by-the-numbers thriller. It's the eerie mystery that invokes the tension, not the small-added slabs of violence and action. It's a character story. Nothing surprises, but its elaborated make-up and cluey puzzles are absorbingly plotted by Brian Helgeland's elegantly dry screenplay, as we watch the psychical and mental decay first break down, but eventually go on to help rebuild our main protagonist. Mainly through his bond with the lady he's helping out. Even a connection is kind of hinted between the killer and Eastwood's ex-profiler… like the one in 'Tightrope' (1984). The relationship that unfolds and expectations that arose, especially after the killer's unmasking and his cunning intentions being revealed is unnerving in that endearing sense. The psychological torment and involvement is well-judged too. This observation can be seen in Eastwood's rock-like performance, which still shows cracks of vulnerability.

Looking comfortable in front of the camera, behind is exactly the same with his economical direction driving the way. Edgy suspense is well-place and timed amongst a gritty backdrop and dreary colour scheme. Lennie Niehaus' soothingly savoury blues score, Tom Stern's sharply pastel cinematography and Joel Cox's swift editing strengthen the already professionally competent production. First-rate performances engulf the feature. Wanda De Jesus strong-willed turn is amiable. Jeff Daniel's lazy; oddball (almost comic) performance is a fine, versatile addition. A cynical Paul Rodriguez and a solid Dylan Walsh are good as two jealous detectives. Tina Lafford is pleasingly sound as a detective/good friend of McCaleb and Anjelica Huston is fiery blunt as Dr. Bonnie Fox.

A satisfyingly better than average thriller fable headed by the ever-reliable Eastwood.