Director Richard Morgan continues to deliver predictable, reliable, but generally uninspired product with his latest, Pump. Predictable, because Morgan's work always has a Southern California glossiness, taped in various upscale suburban surroundings and populated by sleek young fashion model types. Reliable, because Morgan's performers can at least be counted on to perform. And uninspired because, while the actors may not be limp, the camerawork and editing often are.
Virtually every scene in Pump starts out hot, but quickly degenerates into repetition thanks to a complete insensitivity to timing and pace. Encounters go on and on, while the director seems to be napping. The production takes no advantage of the enhancements of splicing time and space to create a mood, a sense of movement or a bit of excitement or suspense. (As for a script, forget it. For all we know, Morgan's casts could all be deaf mutes.)
This is too bad because, as usual, Morgan has a fairly attractive and competent cast to work with. There's even a bit of a shake-up to his usually whitebread formula: a multi-racial mix of passive blonds and aggressive blacks, with the exotic Brad Stone as centerpiece. Oddly, the black members of the cast are still, like hey man, totally Valley Boy types — expensive-looking super-groomed models on the make. Strange, isn't it, how Hollywood somehow manages to make everything and everybody look just the same?