Brooklyn’s Finest
Directed by: Antoine Fuqua
Written by: Michael C. Martin and Brad Kane
Starring: Don Cheadle, Ethan Hawke, Richard Gere, Wesley Snipes, Lili Taylor, Ellen Barkin

When most people think of Sundance, they usually think of small movies from somewhat unknown directors, and yet, Antoine Fuqua is anything but unknown. With such movies as Training Day, King Arthur and Shooter under his belt, he is a very well-established Hollywood filmmaker who has proven that he knows how to handle big budget action flicks. His latest movie, Brooklyn’s Finest, may have been one of the highest profile films at this year’s festival simply based on the cast alone. That said, the gritty and uncompromising subject matter makes it clear that it is not a studio picture, even though it does have some serious mainstream appeal.

Brooklyn’s Finest finds Fuqua returning to the territory that he previously covered in Training Day, a movie that I didn’t like as much as some, but one that had a strong sense of style and a palpable edge to it. There’s no Denzel Washington this time to deliver an “Oscar-calibre” performance, but Ethan Hawke is back, along with a number of other A-list actors. The movie feels more mature and ambitious than Training Day, as it weaves three separate threads about cops, crime and corruption into a morality tale of the highest degree.

On the surface, the story reeks of a thousand different cliches. There’s the cynical cop who is about to retire (Richard Gere), reluctantly forced to take a new recruit under his wing. There’s the undercover cop (Don Cheadle) who has become too attached to his subjects and wants out of the operation. Then there’s the crooked cop with a gambling problem (Ethan Hawke) who is in over his head and looking to score some easy cash.

Without a great cast, this movie could have been a joke, but the characters are all believable and the relationships complex, which helps to elevate the material. Some great supporting actors also bring texture to the various storylines including Lili Taylor, who plays Ethan Hawke’s pregnant wife, and Wesley Snipes as the fresh out of jail drug kingpin whose trust Cheadle has earned.

Both Cheadle and Hawke’s stories are riveting despite the fact that they are slow to develop. There is an uneasiness that builds as we see them wander deeper and deeper into treacherous situations. The weakest thread of the bunch is probably Richard Gere’s, mainly because his character’s misery is so extreme that it’s hard to care about him at all. Gere plays against type as a lonely cop who has hit rock bottom and lost all faith in humanity (and himself). His only salvation is a prostitute (Shannon Kane) with whom he feels he has a connection, although even when he is with her he can’t help breaking down. We never really find out why his character is so completely shattered, but it makes his change of heart towards the end of the film feel a little too convenient.

In general, the writing is strong enough that it manages to walk a well-worn path without being redundant or trite. The script comes from the duo of Michael C. Martin and Brad Kane, who primarily have a background in television (Martin on Sleeper Cell, and Kane most recently on Fringe). Martin initially wrote the script to enter into a screenwriting contest a few years back, and it garnered enough attention to launch his career in Hollywood. It is certainly impressive for a first-time script, although at times it is a bit showy and tries too hard to be dark.

Early on it seems like the multiple storylines have the potential to form a deep and intelligent commentary on justice in the same vein as Steven Soderbergh’s Traffic. Unfortunately, most of the film’s subtext is later canceled out by a heavy-handed and borderline nonsensical conclusion. The movie thinks it is making some grand statement, when really it is just leaving the audience hanging. What’s more, it is a bit of a stretch to get the three storylines converge in the first place (although the climax does deliver some solid edge-of-your-seat suspense, and a series of visceral and bloody shootouts).

Fuqua’s direction is slick but also subtle at points, while the cinematography by Patrick Murguia is lush and enthralling. Brooklyn’s Finest still ranks as one of the better cop dramas I’ve seen in the past few years, but I really think it deserves an ending that isn’t quite so empty. Hopefully they will consider reworking it for the theatrical release, but regardless, Fuqua fans should be pleased with both the tone and the atmosphere of the movie. Keep an eye out for this, likely coming to theatres later in the year. — Sean

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