
On her first day on the job, NYPD officer Megan Turner, the lone officer on the scene, shoots and kills the perpetrator of a supermarket hold-up. Since no gun was found on the perpetrator's person or at the scene and none of the witnesses could corroborate Megan's story definitively that the perpetrator was indeed wielding a gun, she is suspended from active duty. She is quickly albeit temporarily reinstated to the position of homicide detective because the spent shell casing... (Full plot summary below)
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On her first day on the job, NYPD officer Megan Turner, the lone officer on the scene, shoots and kills the perpetrator of a supermarket hold-up. Since no gun was found on the perpetrator's person or at the scene and none of the witnesses could corroborate Megan's story definitively that the perpetrator was indeed wielding a gun, she is suspended from active duty. She is quickly albeit temporarily reinstated to the position of homicide detective because the spent shell casing from the bullet used in a subsequent murder had her name carved on it. This murder ends up being only the first in a series. Working on the case with fellow homicide detective Nick Mann, Megan initially has no idea who in her life could be the murderer. In short order, the murderer does show himself to her. He is commodities trader Eugene Hunt who she met immediately following her suspension and who she has since dated. He also implies to her that he was in the supermarket at the time of the hold-up and that he fled the scene with the perpetrator's gun. The supermarket shooting caused a psychotic break in him which resulted in among other things his obsession with her. However, beyond his implications only to her of being the murderer, Megan has no hard evidence that would stand up in a court of law that Eugene is indeed the murderer. Megan has to convince her colleagues, especially Nick, that she is telling the truth about Eugene, while stopping him from killing again and equally as important stopping him from his continued psychological torture of her.
Leave your thoughts about Blue Steel.
| Washington PostDesson ThomsonMore like a waking nightmare than a docudrama. A true story of murder and justice evidently miscarried, wrapped in the fictional haze of a surrealistic whodunit, it will leave you in a trance for days. [2 Sept 1988] |
| Christian Science MonitorDavid SterrittA mesmerizing reconstruction and investigation of a senseless murder. It employs strikingly original formal devices to pull together diverse interviews. |
| The New York TimesElvis MitchellMorris' visual style in The Thin Blue Line is unlike any conventional documentary approach. Although his interviews are shot straight on, head and shoulders, there is a way his camera has of framing his subjects so that we look at them very carefully, learning as much by what we see as by what we hear. |
| Chicago Sun-TimesRoger EbertThe plot is a little of Fatal Attraction, a little of Jagged Edge and a little of Wall Street. It works because it's so audacious in combining elements that don't seem to belong together. |
| San Francisco ChronicleJudy StoneActually a moody horror story disguised as a documentary, designed to make the viewer feel how arbitrary and fragile the world of law and society really is. |
| San Francisco ChronicleMick LaSalleShort on plausibility but preserving the psycho-sexual ambiguities throughout, Bigelow's seductively stylish, wildy fetishistic thriller is proof that a woman can enter a traditionally male world and, like Megan, beat men at their own game. |
| Entertainment WeeklyOwen GleibermanBlue Steel lacks sustained storytelling craftsmanship, and it never approaches the saturnine intensity of the film it sometimes recalls, Michael Mann’s Manhunter (the greatest thriller of the past decade). But it makes you eager to see what Bigelow could do with a good script. |
| Los Angeles TimesKevin ThomasOther documentarians before Morris have smudged the distinction between fact and fiction. But here the smudging seems almost irresponsible, and you may feel yourself wanting to fight against the conclusions that Morris comes to, not because they're incorrect, but because there's the chance they were come to unfairly. [2 Sept 1988] |
| Miami HeraldBill CosfordFrom the caressing close-ups of a .38 revolver over the opening credits to the climactic image of a spent weapon being dramatically dropped on a car seat, Blue Steel interrogates the notion of gun worship, all within the confines of a shoot-em-up police thriller. |
| Tampa Bay TimesHal LipperWhat starts out as a moody arthouse flick rapidly becomes an uneven B-movie yukfest (sometimes intentional, sometimes not), with low-budget concessions to the Hollywood cop-versus-killer industry. |