I’ve gotten a lot of guff recently. People have told me that I have turned this blog into a pro-cop apologist rant. They are not incorrect. It’s possible that I have strayed from my original mission statement, and I now risk losing my funding. Well this will be my last cop related entry for a while. This is not so much cop related though as it is entertainment related. Last week I decided to take in a movie and review it, I was going to spend the loot so you didn’t have to.
I took myself to my local multiplex and plopped down the nearly criminal $12.00 to view Brooklyn’s Finest. I did not go into this movie hopeful, and was not surprised when I left the theatre with the same sense of emptiness that I walked in with. Movie food might fill your belly, but do you ever feel satisfied when you walk out? That’s kind of the same feeling I got from this film. Yes my time was occupied by this movie, but I cannot say it was time I felt like I accomplished something. After I saw The Hurt Locker, I felt like I used time wisely even though it was a self indulgent veg out kind of thing. A certain part of my psyche was fed and fed with quality ingredients. Finest was nothing like that. The hollow feeling in my psyche was the same as the one in my belly that was filled with popcorn.
Now I have to qualify this review with my DQ (Douche Quotient) regarding cop movies and cop shows. The first article I ever had published was titled Why I Hate Cop Shows. Don’t go looking for it anywhere. The magazine NY Hotshot has long since folded and the website is now an advertisement for a photographer. I wrote the article back in 2000 and I have always contended that Barney Miller is the best and most realistic cop show ever produced. If I had to pick a cop movie, I would have to go with Fort Apache The Bronx. Whereas those two works in my opinion share a brilliance and have done their 20 and now retired, Finest seems like it just entered the police academy. I watch these films and shows from a little different point of view than most people, but I still am a watcher of film. So like every other person who thinks they are right, I know best.
One area where I have to praise this film for is it’s casting, but only part of it. Don Cheadle is good in everything he does. The man just plain has range, maybe more than any other actor out there. This is the same man who was nearly unrecognizable (and it has nothing to do with his appearance) as Rocket in the movie Colors, is the same one who moved me to tears in Hotel Rwanda. Then by the same token cracked me up as Basher in the Ocean’s Eleven series. In Finest Cheadle plays Tango, an undercover cop who is embedded with a nefarious Brooklyn drug crew. Cheadle was likable but the script had him playing the cliché undercover cop who is “in too deep.” If you plan on seeing the film, I won’t ruin it but his actions at the end of the film had me saying WTF?
One surprise in this film was Wesley Snipes. Snipes’ Cazanova was good and even seemed to have some dimension to him. It was a supporting role, but Wesley seemed to make to most of it, and didn’t try and over act it. I’m glad about this as in light of his recent IRS troubles and lack of quality work in recent years, this might be a good turn for his career. Does this mean that Blade 4 is in the works? I sure hope so.
For me personally the best part of the casting was seeing Michael K. Williams, Hassan Johnson, and Isaiah Whitlock Jr. on the screen. If you’re saying who perhaps if I said Omar Little, Wee Bey, and State Senator Clay Davis you will know exactly who I a speaking of. I’m a huge fan of The Wire and even though I came late to the game watching it(the only season I actually saw when it aired originally was the final one), felt it was the finest piece of television ever produced next to Band of Brothers. It was good to see these three actors working, like seeing three old friends who you haven’t seen in a while. You saw they changed but were still essentially the same people. Williams had the biggest role playing the typical psychotic black drug dealer who has no regard for anything other than getting paper and power.
On the other side, the side of the cops, I can’t find much to praise. It strikes me that these men didn’t spend much time with actual cops, or if they did; the cops didn’t let their real personalities out. Ethan Hawke, a guy who I sometimes see walking around my neighborhood has instant name recognition and will put the asses in the seats, was not a great choice for this role. Hawke came from an upper class background and seemed to have trouble playing a blue collar cop. It seemed to me that he thought to play working class you just need to exchange your wallet for a wooden personality. He did his best to pretend he was Denzel in Training Day, but doesn’t hit the mark. His role has him playing another cliché of the cop who needs money and decides that killing and robbery are the way to go. Before they were given a decent contract, every cop I knew needed money. You know what they did to get money, they worked overtime constantly, or got side jobs. They didn’t take to robbery and murder. His character even takes to turning down overtime. His actions just did not make any sense to me, not as a cop, not as a human being. Shouldn’t there be reasons for a person to take the actions like Hawke did? All we know is that he has twins on the way, and needs to buy a new house. When you violate your oath in ways like his character did, then there has to be more than the typical struggle than what we all face every day. There has to be some sociopathology which the writing and acting did not let on.
Richard Gere was a little closer to the target as the weirdo loner cop. He was stubborn, and slightly on the dim side. He was very set in his ways and most of those ways were pretty flawed. But even the biggest asshole on the department has one or two people that they talked with, joked around with. What struck me was that he had no hobbies, no interests. Those guys usually had something away from the job that kept him going, whether it was fishing, or horses, or trips to Atlantic City. Eddie Dugan had none of that. In one scene he bought a fishing rod, but that was never explored it did nothing to give the character depth. The only hobby he did seem to have was a certain hooker in Chinatown. I can’t say this is far from the truth because it brings me back to a situation where a cop I knew started dumping rounds into the projects when a certain prostitute didn’t service him properly. In the man’s defense it wasn’t his regular girl, so can you really blame him?
So acting aside, the writing of this film needed work. I saw an interview on The View (it’s okay, call me a bitch) where Don Cheadle and Wesley Snipes were discussing how the writer of this film had worked in the subway. As I was watching the film I said to myself often, “Yeah this film was written by an MTA employee.” The guy had a good idea, but it seems like he wrote the story without doing the research. Just because you saw cops occasionally in your job doesn’t mean you understand how things work. I’ve got a theory with cop shows and movies. You either have to go way over the top like they did in a show like The Shield. It was easy to suspend belief and just enjoy the fantasy component, or keep it real like The Wire, and show us the comedy and drama that exists normally in life, especially in that life. You don’t have to manufacture it, it’s there already if you just look hard enough. You don’t have to create a scene like the poker game where the dialogue is unnatural and forced with the stupidity of guns being pulled to create artificial drama.
Am I being a nitpicky douche? Yeah I probably am, but I’m going to be this way till they come out with a cop movie that gets it right in this modern film era. Maybe I will just have to open my copy of Final Draft and write it myself. Then some asshole such as myself will rip me apart, but hopefully he decides he needs to do it right and comes out with something better than what I wrote. Then I will be able to die in peace.
Well that’s it for cop stuff for a while…Back to the hood!
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