Brooklyn’s Finest (review)

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Law and Disorder

Is it because I’m a New Yorker myself that I am generally enthralled by tales of the NYPD? Or does perhaps the apparent endless appeal of TV franchises such as Law & Order — as well as the fact that films like Brooklyn’s Finest keep getting produced — mean that lots and lots of people who aren’t New Yorkers at all are equally enthralled by this most storied of police forces? Is this why, no matter how often we get treated to tales of the NYPD, they feel fresh and exciting? Or is that just my New York chauvinism showing?

The fact is that Brooklyn’s Finest — from screenwriter Michael C. Martin, making his feature debut, and director Antoine Fuqua (King Arthur, Tears of the Sun), in a sort of thematic sequel to his astonishing 2001 film Training Day, set amidst the LAPD — wails with a quiet, desperate urgency amidst the loud brashness that it wears like, well, a badge. Three very different cops in the same tough Brooklyn precinct struggle with their own individual senses of honor and decency, even as that clashes with their own indivdual senses of what it takes to survive, psychically as well as physically, in the job. Their stories are just barely interwoven but the deeply satisfying overall affect is one of threads in a tapestry: of the temptations toward corruption and the urge toward righteousness at war with each other, of an intractably compromised and polarized environment in which life is all about not right and wrong but “righter and wronger.”

Hooray! It’s a movie for grownups! A film outta Hollywood these days that doesn’t deal in blacks and whites and doesn’t pretend to have answers to all the hard questions feels like such a rarity.

Even the blacks and whites in Finest comes in shades of gray. Don Cheadle’s (Hotel for Dogs, Traitor) been undercover in a powerful drug gang for too long, and he’s begging to get out, feels he’s earned a nice, quiet, comfortable desk job where he can wear a suit every day. The precinct is on tenterhooks, ready to explode, as the film opens: a white cop has shot to death — murdered, no question about it — a young black honor student whom the cop was trying to rob. And Cheadle’s Tango is worried for himself, fearful that’s he’s starting to go over to the bad guys’ side out of sheer frustration… not to mention the racism he has to deal with himself, even as a cop. And then there’s Ethan Hawke (Daybreakers, Before the Devil Knows You’re Dead), assigned to an anti-drug squad, the kind of badass gang that flies in, guns ablazin’, to clean up dealers’ operations. Hawke’s Sal, in one scene, beats up another white officer, enraged over the other guy’s obnoxious racism… and this is perhaps Hawke’s most electrifying bit, even considering how Sal’s story is mostly about how he can’t keep his hands off the drug money, which is only going to end up comfy-fying the offices of NYPD bigwigs from the slush fund it’ll end up in. Doesn’t Sal need it more, what with his pregnant wife sick from the mold infesting their house? Of all the clichéd metrics of the genre avoided in Finest, Sal may well be the avoiding-est.

Oh, but Martin and Fuqua are not above having a sly bit of fun amidst all the anguish and constant low-level horrors on display. Their third officer is Richard Gere’s (Amelia, I’m Not There) Eddie, still a street cop in uniform after 22 years, and a week away from retiring. Just as in war movies, you don’t wanna be the poor-sap grunt who shows around pictures of your girl back home — that’s a sure way of asking to be killed before the third reel — in cop movies, you don’t wanna be the guy a week away from retirement who mentions, say, the boat you just bought and are looking forward to spending some time on. Eddie doesn’t have a boat, but Finest makes a pointed point of letting us see Eddie buy some fishing equipment.

That’s not a spoiler. You can’t spoil this kind of movie: it’s too twisty, too reliant on its complicated characters to move it forward, too dedicated to making sure you feel like you’re seeing a slice of real, miserable life. It’s a full hour into the film before Gere and Cheadle literally bump into each other, their stories just beginning to intersect, and before Gere and Hawke cross paths, too. By then, I was deeply hooked, spellbound by what disasters I thought I saw coming but was helpless to turn away from.

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Thu, Mar 04, 2010 1:59pm

Hmm, perphaps your NYC bias is in play here (no doubt you’re overjoyed that they shot this film in Brooklyn and not Toronto), most critics are decrying this film for it’s barrell-full of cliches.

It certianly looks like 10 old dirty cop movies we’ve seen before stuffed into one mega crash-like drama. Nevertheless, I hope i enjoy it as much as you did. ;-)

Thu, Mar 04, 2010 2:34pm

Since there aren’t many (serious) cop movies set anywhere but NYC, LA, and sometimes Chicago, I’m not sure if there’s a way to gauge whether people like movies specifically about NYC cops or just cop movies in general.

Anyway, from my perspective in the “flyover,” this one looks pretty good. (I was about to say I’d watch Don Cheadle in anything, but then I saw that one of his credits is Hotel for Dogs.)

Scentsy movie lover
Thu, Mar 04, 2010 3:59pm

LOL to the “Hotel for Dogs” comment. I think one of the most charming things about New York is its inhabitants and their home-town pride. People are drawn to danger as well, (probably due to an much easier life than our ancestors knew), which in turn makes cop movies that much more intriguing. Great blog!

Tonio Kruger
Tonio Kruger
Thu, Mar 04, 2010 4:00pm

Or is that just my New York chauvinism showing?

You’re right. That’s just your New York chauvinism showing.;-)

(Hey, you asked!)

Thu, Mar 04, 2010 4:31pm


Actually, I would think living in New York would make you more critical when they get things glaringly wrong (which I’ve seen in some of your reviews), so if you sign off on credible NY atmosphere, that’s another vote in the win column. B)

Thu, Mar 04, 2010 5:52pm

*Hotel for Dogs* is surprisingly not that bad.

Fri, Mar 05, 2010 10:11am

That is surprising! I think I’ll take your word for it, though. :-)

Sun, Mar 07, 2010 4:41pm

This was a great cop movie – better than the others before it. It moved fast, wasn’t completely predictable, and well. Not to mention the beautiful hooker there makes it worth the admission alone. Go see it.