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While the plot is familiar from numerous gangster movies, what it lacks in originality is compensated for by its visual appeal. The lighting complements the image of Violet and Corky clad in black leather and sunshades; Tilly's character is reminiscent of the traditional femme fatale while Gershon's ex-con is more brash and masculine. The sharp-suited mobsters are appropriately brutal; a finger-chopping sequence is not for the squeamish. Memorable scenes are dotted throughout 'Bound', especially one in which Ceasar enters his apartment carrying the blood-soaked $2 million, washes the banknotes and hangs them up to dry before ironing them smooth.
'Bound' develops the token feminism of 'Thelma and Louise'. Whereas Ridley Scott emphasised the buddy nature of his protagonists, leaving lesbianism as a subtext, the Wachowski Brothers are far more explicit. This is made effective by the genuine chemistry that appears to exist between Corky and Violet. Their personal and professional relationship is based upon trust which is a central theme in what is one of the tensest thrillers of recent years.
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