‘Pimpinero: Blood and Oil’ Prime Video Movie Review - A One Time Watch

In Pimpinero, director Andi Baiz delivers a dusty crime thriller that promises emotional depth but falls short of its potential. With its intriguing premise of familial conflict set against a dangerous underworld, the film sets the stage for compelling drama but leaves much of it unexplored.

The story centers on three brothers: Moises (played by Colombian music star Juanes in a rare acting role), Carmelo (David Noreña), a menacing kingpin who dominates the gas-trafficking trade, and Ulises (Alberto Guerra), a debt-ridden alcoholic unable to stand up for himself or protect his family. The trio brims with repressed tension, but the film fails to delve into their complex relationships. What shaped Moises into a man of unwavering justice and loyalty? How did Ulises succumb so easily to his vices? These critical questions remain unanswered, leaving their bond thinly sketched and emotionally hollow.

The brothers’ arcs take a backseat as Diana (Laura Osma), Moises’s girlfriend, emerges as the real protagonist. Initially a peripheral character, Diana evolves into a vengeful force after a personal tragedy. Her transformation into a “pimpinera” like her father subverts genre expectations, rejecting clichés like the “last job before we quit” trope or the easy resolution of lovers escaping their bleak circumstances. Osma’s fierce performance anchors this shift, but the bait-and-switch narrative shortchanges both Diana’s arc and the earlier focus on Moises. Neither storyline is given enough room to breathe, leaving the audience torn between two competing narratives.

Visually, Pimpinero is stunning. Cinematographer Mateo Londono captures the rugged beauty of the Colombian desert, transforming it into a character in its own right. Sweeping shots of sun-soaked landscapes, fast cars kicking up plumes of dust, and fiery explosions bring a visceral energy to the screen. One particularly striking scene shows Moises kneeling in defiance before the police, his car ablaze behind him—a moment of raw determination that resonates deeply. Londono’s work elevates the film, even as the narrative struggles to match its visual ambition.

Despite these highlights, Pimpinero leans heavily on familiar tropes of the crime genre: shootouts, betrayals, and revenge all play out predictably. Baiz, known for his work on Narcos and Metástasis (the Spanish-language remake of Breaking Bad), is adept at crafting gritty, lawless worlds but struggles to imbue his characters with the nuance needed to make their stories truly memorable.

The film’s pacing also undermines its emotional core. Intimate moments—such as a tender scene between Moises and Diana or a poignant conversation between Diana and her mother about her father’s death—are cut short, denying the audience the chance to fully absorb their impact. These fleeting glimpses of deeper connection suggest the potential for greatness, but the film repeatedly sidesteps opportunities to linger on its most resonant themes.

In the end, Pimpinero is a visually striking but narratively uneven film that skims the surface of its characters’ lives and conflicts. While it occasionally flirts with profundity, it settles for being slightly above average—a missed opportunity for a story that could have been so much more.

Final Score- [4/10]
Reviewed by - Neerja Choudhuri
Follow @NeerjaCH on Twitter
Publisher at Midgard Times