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Some cops are good and some cops are bad. The good cops come with
a heart of gold. They are too nice. When it comes seeing cops in films, at the end of the day
they will save those from harm’s way. It doesn’t always work out
for the bad cops, but there’s something exciting about them,
at least on film. Lately, there has been a flux of appealing bad
cops on screen that are drawing audiences to see more of them. We liked Denzel Washington so much as the evil cop in
“Training Day” that he won an Oscar for his portrayal. Even on the
small screen Michael Chiklis won an Emmy for his portray as a cop
who sets his own rules on “The Shield.” Now comes another film that
explores the life of an unethical cop. But this cop has a conscience.
In Ron Shelton’s new film DARK BLUE, Kurt Russell shines as a
bad cop who tries to make right what he consciously knows is
wrong in the eyes of the law.
Set during the Rodney King trial in April 1992, Eldon
Perry (Russell) is a veteran detective and head of the LAPD’s elite
Special Investigations Squad. His latest partner, rookie cop Bobby
Keough is just coming off a police investigation where he was grilled
over a bust gone bad. When they get handed their latest case, a
high-profiled quadruple homicide, Bobby learns the truth about police
corruption and politics and how far his partner would go to get
things done “their way.” Being the new guy on the squad, Bobby’s
not looking to mess things up and infuriate his partner and fellow
cops, but the constant intimidation and badgering from Assistant
Chief Holland (Rhames) keeps him up at night and despondent about
his future in the force. Holland is the only man willing to go up
against the brass and stop Perry from carrying his “justice”. He
wants to bring down the entire SIS, but the top captain of the SIS
(Gleason) keeps him at bay. Meanwhile, as Perry reluctantly carries
out his orders to do “his job” and find the killers, he becomes
aware that his partner may be turning against him. Neither one of
them knows what lies ahead of them as the system they work in may not
be there for them in a time of need, especially when the King verdict
comes down.
Back in 1992, LA cops weren’t seen in a good light and racial tensions
were at the highest level. Shelton has done a good job in illustrating
the corruption that existed in the police force and how politics
also had a hand involved. Russell is exciting to watch because not
only does he implore his way of handling situations in an unethical
manner, but he has a conscience. His performance is rock-hard as
they come. In his first major role since leaving TV’s FELICITY,
Speedman is okay but a little bland. Michael Michele is given a
bigger role as another cop involved with a fellow officer and she
makes good use of her scenes. Her experience as a detective in TV’s
Homicide came in hand, as her performance is more appealing here
than in her strings of films (Ali, How to lose a guy in 10 days).
Rhames is effective as the Assistant Chief but he could have used
a little more screen time. Dark Blue has some flaws as many
layers of the film are not completely drawn out, but the effective
performance of Kurt Russell carries the film through those hurdles.
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