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Customer Reviews of One Good Cop [Region 2]

Moral Relativism For Social Conservatives
It's always a little troubling when a movie reminds the viewer a little too much of series TV. Worse, when the film suffers by comparison. ONE GOOD COP came out two years before the debut of NYPD BLUE, so although it reminded me uncannily of that show (with its mix of gritty police procedural and sentimental family drama), you can't really call it a rip-off of that seminal TV series. <
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>Or maybe that series was not so seminal. It was certainly maximally gluteus, but were the bare bums the sole innovation? I don't recall it well enough to say for sure. In many ways it seemed to be an 90s extension of and elaboration on the equally gritty HILL ST. BLUES (although with an actually recognizable geographic locale and earthier, less glamorous character). <
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>Why go on and on about the TV series that cover the same terrain at ONE GOOD COP? Well, it's interesting to me that such dramas made for better than average TV fare, while this particular film seems to be average at best. The two above cited series and any number of other shows (especially Stephen Bochco's) occasionally tackled the question of good cops occasionally doing bad (or at least, morally ambiguous) things for a good cause. And quite often, they kind of got away with it. <
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>In the last analysis, these inherently conservative dramas have at least toyed with the notion that it's OK for cops to do corrupt things for a good end. They suggest that the world is indeed morally grey--at least on occasion. And that's an argument that can be made (that it appeals oftentimes to the kind of social conservative who is also likely to speak in grandiose terms about "moral absolutes" in dealing with matters such as abortion and gay marriage is another issue). But that argument can indeed be made and framed in human terms, ONCE YOU GET TO KNOW THE CHARACTERS. <
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>And here's where series television actually has an advantage of movies. These characters are coming into home every week (every NIGHT in reruns). Because loyal viewers get to know these characters fairly well they can forgive them more readily their human flaws, just as they can forgive the series creators their dramatic flaws. <
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>But even though the police drama and the family one are dramatically linked in ONE GOOD COP, there really isn't enough time in the space of two hours to develop either satisfactorily. Other reviews on this site and elsewhere give a fairly comprehensive summary, so let me dispense with that and get right to some core questions. <
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>Movies and TV shamelessly attempt to manipulate their viewers, and that's nothing new. Would we feel a little less manipulated, say, if the events in this thriller-cum-family drama had been spread out over the course an entire TV season say. I think so, actually. We might have gotten to know Anthony LaPaglia's character instead of seeing him get offed within the first twenty minutes of screentime. The buddy-buddy relationship between the two partners would have been established and not just suggested. (And the then up and coming LaPaglia would have gotten that much more screentime and promotion--not a bad thing for someone so talented). <
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>And wouldn't Rene Russo's fervor to become a mother and her eagerness to adopt the children of her husband's murdered partner become something a little more emotionally resonant--and less of a transparent plot device--in a more leisurely paced dramatic format such as a series? Viewers are asked to take too much on faith in this movie. Since it can't decide which it wants to be, the film never becomes much of a thriller or of a drama. <
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>It does have a very good cast, however, including the children. Ever notice how much better child actors have become in recent decades. No Buffy and Jody awkwardness these days. Of course, the fact that the kids are all so preposterously adorable doesn't hurt. (Would Michael and Rene have been as eager to adopt Anthony's kids if they hadn't come directly from central casting?) <
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>Many reviewers have called this movie to task for being a little on the preposterous side. And when you list them out, it does start to become obvious how the filmmakers are trying to manipulate us here. Some obvious questions are: how is it that Keaton's widowed partner could afford to raise three kids in the city, and Keaton and Russo (who is also gainfully employed) cannot?; in other movies where the "thin blue line" closes ranks, it is more often a done in silence, with tacit understanding that all lips are sealed, but does it make real sense that Keaton's colleagues cheerfully take up a collection for him; and lastly (and this is not an original point with me), hasn't anyone in this movie heard of Internal Affairs. A high profile crime involving a deadly shoot out could never just be handily hushed up, could it? <
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>The questions only begin there. Dramatic license only goes so far. One may to stretch out those limits is to have the audience really get to know your characters. That proves almost impossible in this film and part of the reason is the time constraints of your typical cinematic release. ONE GOOD COP just does not work. But it might have made a pretty good TV show. <
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THEY ARE NOT DOING FILMS LIKE THIS ANYMORE
This kind of a movie is a rare guest on screens nowdays. Police movies are not very popular now and that's a pity. "One Good Cop" has a solid plot with all the genre's attributes. Besides it's a touching and kind-hearted story about a cop who has to raise the three daughters of his partner who's been killed doing his job. <
>Michael Keaton's work is just something special here. He's always good but in this film I guess he demonstrated all his abilities. I can note practically everyone who's been involved in this movie - Rene Russo, Anthony LaPaglia, Rachel Ticotin, Tony Plana (brilliant as a villain) and young Benjamin Bratt who is very interesting to look at here. <
>"One Good Cop" is not just an action movie, it's an insight into human relationship, into relationship between friends, husband and wife, grown ups and kids. <
>Great film that can be recommended to anyone who just loves good quality cinema. You won't be disappointed. Everytime I watch it I get a little nostalgic because this movie is of an extincting kind.

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Chance, circumstance, compassion, loss - a journey.
This is an interesting psychological journey of One Good Cop (Michael Keaton) who makes a decision to do something wrong. One thought stands out in the movie, and will probably stay with me for a long time: People make millions in drug money while law abiding, honest people can barely afford to keep a roof over their heads. That truth is relevant.

Keaton was excellent in showing the honesty of a cop who loses his partner of eight years. It is easy to see how deep the bond of friendship is between shield carrying brothers or sisters. They can't really share their day at home with family and loved ones because it would drag their family through the underworld garbage as well. That barrier, however, is hard on a marriage, but remains in place because cops do want to protect the good guys.

Keaton is given the guardianship of his partner's children. Rene Russo is beautiful in her role as Keaton's wife; always wanting children, but unable to bear them. Suddenly life gives her a family -- and these children need two loving guardians to have a healthy survival of the loss of both of their parents. They do not need to be separated into three foster homes or adopted by different families.

However, there is simply not enough money to take care of them. Neither Keaton nor Russo want to lose these three little girls who brought a new kind of love and laughter into their tiny home. And tiny it is -- one bedroom, where the girls now sleep together, a living room, kitchen, and bathroom. The significance of the lodgings is the impetus for the crime.

The question arises: is stealing from criminals, in order to take care of the children they turned into orphans, sactioned?

Benjamin Bratt is filled with his usual bravado, and he is also a good cop. In fact, the entire supporting cast is well chosen. Even Bratt agrees with the police captain's decision when ultimately the crime is exposed.

This is good drama, a strong story, and the psychological journey is worth the trip. I give is four stars.

Victoria Tarrani