Blucher One of the worst movies I've ever seen

Glatpoti It is so daring, it is so ambitious, it is so thrilling and weird and pointed and powerful. I never knew where it was going.

SeeQuant Blending excellent reporting and strong storytelling, this is a disturbing film truly stranger than fiction

Sammy-Jo Cervantes There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

Spikeopath Devil in a Blue Dress is written and directed by Carl Franklin, who adapts from the book written by Walter Mosley. It stars Denzel Washington, Tom Sizemore, Jennifer Beals, Don Cheadle and Maury Chaykin. Music is by Elmer Bernstein and cinematography by Tak Fujimoto.Carl Franklin had already laid down a considerable neo-noir marker with his searing 1992 thriller One False Move, here he goes more traditional but garners equally impressive results. Plot has Washington as a WW2 veteran who has lost his job and desperately needs money to keep hold of his pride and joy - his house. Taking on a job offered by shifty DeWitt Albright (Sizemore), to find a missing woman, Rawlings quickly finds himself in up to his neck in murder and deception, he must turn ace detective to save his skin.Set in late 1940s Los Angeles, what instantly stands out is the period detail. The clothes, the cars and the establishments frequented by Easy and company. With voice over narration also provided by Washington, in dry and sardonic tones, it's every inch a loving ode to the film noir movies released at the time the pic is set. There's plenty of neon signs about the place, some bad ass cops, good sex, brandy and sharp suits, smoking and coolness and of course a psychopath in the classic mould (Cheadle excellent).But of course noir dressage is only that if you haven't got a good pot boiling plot, thankfully this has one. The story takes unexpected turns, always remaining interesting, the distinctive characterisations breathing heavy, managing to off set the run of the mill stereotypes in the supporting ranks. It can be argued that Beals as the titular femme fatale of the title is under written, but the character comes with an air of mystery that serves Franklin's atmosphere very well. Tech credits are high, something of a given with Bernstein and Fujimoto on the list, while Washington turns in another classy show of subtlety and believability.Lovers of film noir should get much rewards from Devil in a Blue Dress. 7.5/10

Threeline filmreviews Old timers say that casting is 97% of a motion picture. That's on display here - for good and bad. When the "Chimatown" moment occurs and the audience doesn't care is that the audience's fault... or the producers?devil in a blue dress. blue dress in a devil. Satan in a red dress and Lucifer in yellow. purple, orange, green and purple. kind of makes on want to blink. central avenue. avenue central. don Beadle. densely washing ton. devil in a blue dress. blue dress in a devil. Satan in a red dress and Lucifer in yellow. purple, orange, green and pink. kinda makes on want to blink. central avenue. avenue central. don Beadle. densely washing ton. devil in a blue dress. blue dress in a devil. Satan in a red dress and Lucifer in yellow. purple, orange, green and pink. kinda makes on want to blink. central avenue. avenue central. don Beadle. densely washing ton.

Neddy Merrill The most interesting element of the film is what happened subsequent to its release – nothing. All the elements of a good origin story for a movie franchise or a television adaptation (like "MASH") are there: a compelling main character ("Easy Rawlings") a setup for further adventures and the books of Walter Mosley for plot ideas. Also race, which is an essential element to the story of 1948 Los Angeles, continues to be a compelling social topic. Certainly some inherent challenges may have dogged efforts to bring the stories to the big or small screen. Period dramas, particularly those that necessitate car chases through long gone parts of Los Angeles, are expensive and difficult to stage and film. Also, the deus ex machina character of "Mouse" played by Don Cheadle presents some serious moral problems with his twitchiest of hair triggers. Also some of the attempts of dark humor focused mainly around Mouse in a serious noir are jarring and out of context with such dark material. As a standalone film, "Devil in a Blue Dress"-presumably not originally based on the Mitch Ryder song-garners a lot of unproven claims of being underrated from internet and mainstream commentators. Certainly, the movie entertains as Rawlings unravels a mystery involving murder, politics and Jennifer Beals in an early role against a backdrop of racial inequity in America's golden west. However, all of these elements are employed to far more compelling effect in a movie two years later called "L.A. Confidential." In short, fans of noir or Washington / Cheadle should find this as required reading while others should just go with "L.A. Confidential".

Robert J. Maxwell The acting is up to professional standards. Denzel Washington is in the lead as a jobless ex-GI in 1947 Los Angeles who is hired by a stranger to find a white girl named Daphne. He does a good job, as usual, without being in the least extravagant. The supporting players are all equally good, with Don Cheadle in the flashiest role as a friendly killer.Jennifer Beals as the mysterious and missing devil in the blue dress is competent and attractive. You have never seen such huge, glistening black eyes. Why hasn't she gotten better parts? Location shooting is done carefully too. Lots of nice shots of seedier locations as well as a couple of the kind of faux country estates we saw so often on "Columbo." Washington, of course, is African-American, and Beals is passable as a Creole from Louisiana. Relationships between the police and the black community are sketched out in what's probably realistic detail. The heavy handedness of the cops should come as no surprise to anyone who's seen "L.A. Confidential," although it may shock some who grew up on "Dragnet." The racial divide isn't imposed willy nilly on the script, either. This is an unashamed noir. There's no attempt to make racism the central issue. It may be difficult for some of us to accept the notion that a politician's marriage to a woman who is partly of black parentage would stultify his career but it was true enough.Still, the movie fails to engage. The narrative is murky, the action turgid, and there is a narration by Washington that serves as a familiar crutch for a weak story. It does nothing more than fill us in on the details of Washington's peregrinations, without adding anything more. It's Raymond Chandler without the fustian poetry or the scintillating cynicism. Washington's voice over never tells us that some babe had "hair the color of gold in old paintings." It only tells us things like, "I figured I'd better get out of there." I didn't really care much about anyone but Washington's out-of-work nice guy. I wanted him to make enough money to pay off his mortgage. That was about it. Well -- of course I didn't want to see Jennifer Beals tortured with that red hot poker either, although I wouldn't have minded if her captors had torn her clothes a little. Or, I guess the script could even have let her take a long, languorous bath.Chandler and Hammett never had especially gripping characters either but Chandler carried us along with his blunt, boozy charm, and Hammett bootlegged in a philosophy of life.Speaking of "carried," Washington has a line he speaks to Beals. "Change out of that house coat. Come on, I'll carry you home." Washington doesn't mean he's going to sweep her up in his arms and schlep her across town. He means he's going to escort her home in his vehicle. This is an old-fashioned, mostly Southern usage. It dates back to before the Civil War, as in "Carry Me Back to Old Virginny." I didn't mean to carry on so, but that sentence was one of the few things in the movie that roused my attention.