Vinnie Jones takes scowling and grimacing to new heights as he pummels lackeys to a pulp with brass knuckles. Bullet Proof has the veteran actor playing a ruthless drug lord commanding a gang of face-tattooed goons. He’s chasing down a cheeky thief who stole his money, and drumroll please, pregnant wife in the escape. Bullet Proof initially gets adrenaline pumping with non-stop chases, gunplay, and whiplash camera work. You root for the likable protagonists to abscond with the ill-gotten spoils. A second act lull in the action brings the narrative to a crawl. The film picks up speed for the climax but never regains its original footing.
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James C. Clayton stars and directs as the unnamed thief. He sneaks into a junkyard where the baddies stash guns and loads of cash. Bullets fly as he grabs the loot and steals a car. His timing sucks as another vehicle crashes into him. The thief pistol whips the driver then speeds off in that car. He pulls over on the highway to bandage a wound. The situation becomes more complex when he discovers the pregnant Mia (Lina Lecompte) hiding in the trunk.
Temple (Jones) arrives at the junkyard’s aftermath. He’s irate at the robbery but more concerned about Mia’s betrayal. A beat down of the driver reveals Mia’s desire to leave him. She won’t raise her child with a brutal father. Temple calls in Skinny (Danny Mac) and his top enforcer, the Frenchman (Janvier Katabarwa), to recover his dear property. Meanwhile, the thief realizes that Mia heard his getaway plan. They become unlikely partners with Temple and his thugs hot on their trail.
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Bullet Proof Starts Strong
Bullet Proof starts strong by wholly embracing its run and gun themes. Clayton, a character actor in his feature directorial debut, takes a page from Guy Ritchie’s playbook with quick edits and sharp-angled shots. He effectively stages an action-packed open. I also got a kick out of the groovy score and soundtrack. Techno beats pound with classic rock as the junkyard becomes a war zone. The thief’s wisecracking responses adds a tinge of comedy to the carnage.
Clayton and Lecompte have chemistry when the narrative gains traction. Fate throws them together at the wrong moment. The thief wants his money but feels guilty about Mia’s situation. She’s got ample reasons to run from Temple’s wrath. The escape goes predictably awry when they have to stop at a clinic for pregnancy issues. It’s not unrealistic to have every scumbag searching for them. But Bullet Proof loses steam with a subplot sidetrack about punks trying to steal the money. Clayton needed to stick with a pedal-to-the-metal philosophy. The second act has too much unnecessary filler.
Bullet Proof should only be viewed as a pure B-movie actioner. There’s entertainment value as a check your brain at the door experience. Temple and the butt-kicking Frenchman work as sadistic antagonists. They leave a swath of bodies with indiscriminate killing. Clayton shows some promise here. I’m curious how he’d do with a bigger budget and better script.
Bullet Proof was previously titled Death Pursuit. It’s produced by IndustryWorks Studios, Play by Play Entertainment, Peacemaker Filmworks, RAW Camera Company, Greendale Productions, and Grindstone Entertainment Group. Bullet Proof is currently available on demand and theatrically from Lionsgate.
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