Two cop brothers, smothered by the shadow of their former police chief father, must investigate a crime they committed.
At times, Blood, feels like a slightly-filled-out television police procedural with better cinematography, but the performances have an almost Shakespearean grandeur.
This move is both redundant and counterproductive because it weakens one of the screenplay’s central conceits — the way Bettany’s guilt is shared and experienced by other characters.
A smart, well-acted and well-directed picture that adds up to a little more than the sum of its parts.
Originality may be out of Blood’s jurisdiction, but it manages to plod on, dutifully walking a tired old beat.
Blood wants to be a Greek tragedy about family loyalties, guilt, and the fall of a dynasty, but the characters never manage to connect with one another, separated by gulfs of melodramatic angst and the plot demands of a boringly unspooled police procedura
The film’s family-saga pretensions and bombastically overdone characterisation keep hobbling its better elements.
Themes of family ties, obsession, and morality, so dramatically realized in Conviction, are gracelessly and shapelessly strewn together here.