Image Credit: Prime Video
Revisiting the concept of home invasion, presenting it in an unexpectedly original way. Taking a broad approach, it is a sort of female-led action film enhanced by the cinematic charm of pirates. Nothing essential, yet The Bluff, directed by Frank E. Flowers, co-written with Joe Ballarini, and produced by the Russo Brothers, manages to be thoroughly enjoyable.
This is no mean feat, given the direction and, to stay on topic, the landing place: now streaming on Prime Video, The Bluff tries to stand out from the rest of the originals—which is no small feat—by making the most of the material available. The cast, the story, and above all the location, which, well researched by the director, cleverly becomes the heart of the work.
The Bluff: the return of the pirates (streaming)
The year is 1840, and the protagonist is Ercell “Bloody Mary” Bodden (Priyanka Chopra Jonas), who has turned her back on piracy. On the coast of the beautiful Cayman Islands, she has built a new life alongside her husband T.H. (Ismael Cruz Cordova), her son Isaac (Vedanten Naidoo), and her sister-in-law Elizabeth (Safia Oakley-Green), finding a peace in everyday life that she thought impossible, given her turbulent past.
But as we know, the past cannot remain buried for long. When Captain Connor (Karl Urban) reemerges thirsty for revenge (an old-fashioned man in a modern world, with a non-trivial twist), Ercell’s fragile balance is shattered. Besieged, she is forced to reawaken the warrior she had sworn never to be again in order to defend her family.
A film devoted to entertainment (and it works just enough)
As mentioned, the strength of The Bluff lies entirely in its structure, very similar to a ruthless game of deception, strategy, and survival in which two pawns, designed according to directly opposing archetypes, move as if in a role-playing game. Frank E. Flowers, of Caymanian descent, knows the territory well (and it shows), applying the right metrics and shifting his gaze forward: no longer the golden age of piracy, but a more raw and less romantic dimension, yet still suited to the context and the main verb honestly sought: to entertain.
Of course, it’s all quite forgettable at the end of the two hours, but the action-packed approach—the hand of Anthony and Joe Russo is evident—mixed with a striking exotic atmosphere, without necessarily resorting to obvious visual effects (Greg Baldi did a good job with the photography), manages to capture the audience’s attention, captivated by a story that overturns various preconceptions, focusing entirely on authenticity (which doesn’t hurt): at the center is not the traditional male hero, but a female figure who defends her home, her family, and her identity from a relentless (but logical) attacker who seems to have come straight out of certain 1990s productions. It must be said that Priyanka Chopra Jonas and Karl Urban carve out a respectable space for themselves in the pirate fantasy.
The intentions are excellent, as the director himself confirmed during a press conference, saying that “The Bluff had to have heart and authenticity. Only then could we reach a wide audience.” True. In short, it may not be a lot, but it’s enough to stand out from the crowd. With one final note: perhaps we didn’t get it, but it’s really not clear what the bluff that gives the film its title is.
Conclusions
Pirates always work in movies. And they also work in streaming, as The Bluff proves. A female-led action film that uses exotic landscapes to create the right world building, with a strong appeal to the audience. It’s nothing groundbreaking, but in the chaos of copy-and-paste productions, Frank E. Flowers’ film flows and entertains, thanks in part to a good dose of action and the performances of Priyanka Chopra Jonas and Karl Urban.
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