Brooklyn's Finest (2009) - Crime, Drama, Thriller

Hohum Score



Three unconnected Brooklyn cops wind up at the same deadly location after enduring vastly different career paths.

IMDB: 6.7
Director: Antoine Fuqua
Stars: Richard Gere, Don Cheadle
Length: 132 Minutes
PG Rating: R
Reviews: 40 out of 151 found boring (26.49%)

One-line Reviews (139)

Great Performances but Monotone, Grim, Poor Story .

Powerhouse performances and a suspenseful story included

Unlike a stylized movie like "Crash," this movie doesn't really have room for coincidence like this--it's too much about being real, a kind of updated "French Connection" without the steady, gripping, cinema verite style that holds up the earlier classic.

But all the same, this film is very intense and features some great acting and some powerful action scenes.

This time he is the (cliche) bad cop who goes around stealing drug money to support his wife and family.

A good, suspenseful, adult film that deserves more acclaim and a bigger audience.

A 'Best Of' package of clichés still makes for a cliché, and Fuqua's film has the lot: the aforementioned burn-out; the undercover cop wanting out (an unconvincing Don Cheadle); the gang boss with a heart (an impressive, unrecognisable Wesley Snipes).

intriguing crime drama .

Please, just don't waste your time.

Don't waste your time with either.

Some daylight shots and some humor could have made this more enjoyable.

Now I know that movies need conflict and things to overcome to provide tension and action but just writing those brief summaries felt like I was visiting the Cop-Movie cliché warehouse.

Still, the movie is gripping.

Brooklyn's Finest was an interesting and entertaining crime/drama and if you like the genre, then you should definitely check this film out.

I thought the acting was pretty good and all 3 stories were entertaining.

Also the climax of the movie was a very cheesy way to end a movie such as this, and it seemed at some points that movie dragged on when it didn't need to.

Cliché can still work .

I was really disappointed,I was falling asleep but I tried to stay awake, waiting for some excitement on the movie, though it never came.

Eddie (Richard Gere) is one week from retirement (big cop cliché) with lonely longing for his absent wife and affection for a prostitute.

Instead, I was heavily disappointed with a pretty dull movie, that was much too overlong for my liking.

Worth watching.

However, since it had such great actors attached to it, it's only destined to be known as a blatantly unoriginal cop movie with a cliché script that drastically mistreats it's talented cast.

Gere still exudes that strangely boring aura.

This is because Tango can't bring himself to betray his friend who'd previously saved his life but also, he knows that if he doesn't, he'll have no chance of promotion or escaping his current, increasingly unbearable circumstances.

Waking up not so far away is Richard Gere's character, he too is a police officer named Eddie Dugan; a single man who sleeps with whisky beside his bed and unloads an empty pistol into his mouth upon getting up.

Yet the story works, mainly due to the great acting and the fast paced action which manages to keep the audience's attention.

A Slow Burner .

Long, Boring and Miserable .

And Gere's character is a dull jerk.

Think about this film for a while after you leave the theater before you make a final judgment.

Antoine Fuqua had a winner with Training Day, and while Denzel's character is better than any characters in Brooklyn's Finest, this movie is more engaging overall on sheer entertainment value.

You will need to watch this cliché…movie to find the answers.

Martin takes an unusual and potentially fascinating tack by following these characters separately up until the final showdown, though in the film's opening stages a good twenty minutes passes by before anything involves the audience.

When he sees another prostitute being dragged away he reacts.

Over all another intense very well written project from Antoine Fuqua.

Cluttered with every cop cliché there is, Brooklyn's Finest is clumsy.

This is a compelling tale of the dedicated cops of NYC, those men who work the mean streets and are affected day after day by what they see.

The acting is very intense and effectively carries the film.

In the usual cop film cliché he is a week from retirement, jaded and worn down by years of dealing with the grind of crime, drug use and depravity.

A totally upside down, back and forth worthless, boring, confusing, not to mention, pathetic!

Overall, this is one intense cop film which has all the intensity of Training Day.

A whore who gives a favored client a key to her business address which allows him to enter when she's er-ummm, entertaining clients?

In providing this character with a family, it allows for Hawke's character to occupy the screen without risk of our interest or fondness for the man waning; it allows for his story to play out without the danger of it transferring into an anonymous, bland tale of an anti-hero undeserving of his job title going through the motions.

The dark opening of the cemetery scene with NYC lights in the back drop had me on the edge of my seat trying to not to blink.

Besides the good vibe of this movie though, there is just too much cop cliché, in fact the whole movie has a bit too much clichés in it's script.

The aforementioned "collision" of characters (if you can even call it that) at the end, probably the last twenty minutes, is the only time the film becomes somewhat compelling and interesting.

The origins of multi-storied police procedurals like "Brooklyn's Finest" can be traced to either those post-Watergate, Joseph Wambaugh-inspired law and order street epics, such as director Richard Fleischer's "The New Centurions" (1972) and director Robert Aldritch's "The Choirboys" (1977) or director Sidney Lumet's police yarns, including "The Anderson Tapes" (1970), "Serpico" (1973), and "Prince of the City" (1981) Predictable, disillusioning, even humorless, this Overture Films release manages to surpass earlier convoluted cop dramas such as "Pride & Glory" (2008) with William Norton and "We Own the Night" (2007) with Mark Wahlberg.

The first scene featuring Eddie sets the cliché tone when we see him get out of bed, immediately drink dry whisky and then "rehearse" his suicide by pulling the trigger of an empty gun he shoved in his mouth.

Cheadle, Hawke and Gere all develop very burnt-out, empty looks in their eyes that help make this film more believable than it really is.

It's one of the worst movies I've seen in a long time and I just watched "The Descent: Part II" last week, which was pretty darn bad.

Fuqua and Martin spent more time moralizing about the fate of these three than entertaining us with snappy action scenes.

The acting saved me from the bitter waste of time delivered by each story itself.

Constant cussing and stereotypical African-American slang grace the script, and along with the action scenes, make for an entertaining experience.

There's the cop on the edge of retirement who is compelled to do one more good deed which will put him in harms way.

Director Antoine Fuqua puts together a slow moving, worthlessly complex, grim plot that none of his characters seem capable of properly navigating.

it is so cliché!

Film critics have dismissed this film as very cliché and predictable.

As a film this movie works, it is gritty, intense at times and features three strong leads with different motives and unique storylines.

It's intense and believable, and even tender and sorrowful work, like when Gere's character is around a prostitute he's fallen for.

All the actors in this film pull off magnificently intense portrayals.

Thanks to the directing, a decent story and an intriguing plot, this movie is a really good watch, and has a pleasant moral that doesn't necessarily forces itself onto the viewer.

Pardon me while I yawn.

His role as dirty cop struggling to put food on his family's table and pay for the house is just riveting.

The films only downside is a rather forced, contrived ending.

Hawks and Cheadle put out decent performances to keep it from being a total flop, but overall it comes across as a B rate remake of The Departed with every other cop cliche thrown in for good measure.

There is also the cliché situation of the agonizing dilemma whether to betray a man (a drug dealing boss played by Wesley Snipes) with whom he has developed a true friendship.

In the middle, you get to absorb a lot of NYC atmosphere which somewhat compensates for the formulaic nature of the film.

He's on the edge of retirement, no one wants to work with him and every now and again sleeps with a Latino hooker.

When you see the opening scene of Gere, hopefully you'll laugh at the cliché of 1/2 Riggs, 1/2 Murtaugh and that will carry you for the 2+ hours of "Brooklyn's Finest.

Cliché, cliché, cliché, after overused fuquing cliché!!!!!!.

And when the plot is disjointed with all kinds of dots disconnected, even when the inevitable "showdown" between the main characters occurs in the end, it's a problem.

The shootings were too quick, the dying dragged out repeatedly.

The ways in which these three men try to deal with their problems at the same time as confronting the day to day dangers of their work, makes this a very intense, gritty and tragic drama which shows how easy it can be to lose sight of the lines between right and wrong.

It may be that I find his character the most compelling.

Characters that are supposed to represent a gritty, authentic take on crooked cops in a corrupt city come across as cliché caricatures instead.

Most if it is a rip-off of that exciting orchestrated music in the Bourne movies.

The drive behind these three cops is equally compelling.

Somewhat entertaining and at times over the top!

Overall it's an intense, honest and realistic film experience, and I must say that it's even better than "Training Day".

You know how sometimes watching a movie feels like being immersed in a different world?

His work on "Brooklyn's Finest", in contrast, is forced, slow and derivative.

What I cannot buy is utterly cliché dialog, the lack of character development and the general apathy in storytelling that is apparent here.

Stunning performance from Ethan Hawke as a desperate cop who needs money urgently and faces an emotional / mental downfall as he spirals further and further into the world of corruption.

Martin and directed by Antoine Fuqua ('Training Day', 'Shooter') provides an intense study of the live of three Brooklyn policemen and details how they are all on the brink of being burned out by the grisly requirements of their work in one of the most crime infested areas in the country.

Although the film may be somewhat predictable, it is still highly entertaining and has a unique pull.

Cheadle's story is in particular entertaining.

Stirring depiction of cops on the edge, this may just be Fuqua's Finest.

At first, this entertaining policier delivers the goods with plenty of street realism and the details of day-to-day work experience.

Gere, Cheadle, Snipes and a bunch of other seasoned actors waste everybody's time by accommodating the producers of this flick to create the biggest pile of clichés this genre has to offer.

And the ending feels very, very contrived.

Cheadle's hothead tends to bounce off the walls without allowing us more than a passing glance into his off-duty personality or lifestyle (he lives in a spacious, empty apartment and keeps photos of his ex-wife in a safe-box).

Again, the lack of any theme other than "life's a bitch on NYC streets" makes the whole effort tedious.

Painfully Slow and Gory .

Brooklyns Finest is a thriller which I found enjoyable to watch and which I loved watching and will definitely watch it again.

But slowly, the clichés start creeping in and by the end, we're left with a stupidly contrived triple showdown.

What i especially liked, was the incredible authenticity of the characters and the dimensionality of most of the main characters as well as the unobtrusive yet gripping camera work.

" It strives to matter but it simply doesn't, instead reveling for two hours in the Pointless Abyss, leaving the semi-resurrection of Wesley Snipes as its only legacy.

The story is engaging and timely, and the surprises come along at just about the right pace.

One of the cops is portrayed by the always great Don Cheadle the other of the three being Richard Gere who has also been an enjoyable presence to watch in film.

Action packed but also cliché packed, with some great actors not at their best .

Waste of Talent and TIme .

Cheadle, Hawke, and Gere play three cops that each on their own way are living a life on the edge of morality- without realizing it.

it was very entertaining, as the acting made the movie.

By the time the final scene began I found myself struggling to stay awake because the 'drama' had become so Tepid and predictable.

The story revolves around three Brooklyn cops who have chosen completely different paths within the department but their paths converge together for an intense climax.

Cheadle, Hawke, Gere, pretty damn good actors--totally wasted in this gory, vulgar pointless movie.

Brooklyn's Finest is a gripping, performance driven, showcase that questions conscience, morality, and the decisions that blur the lines of right and wrong.

Richard Gere gives an outstanding performance and there is a interesting interwoven plot to keep you on the edge of your seat.

The trouble is, each scene seems to be competing to be as intense and dramatic as the last, and what you're left with is a string of heavy sequences that fail to connect together and produce an engaging or coherent whole.

The actors take material that could be trite and unconvincing and even stale post-Lumet-cop-movie stuff and make it their own, compelling and heartfelt, and true to the extent that the genre allows.

Whilst it is eventful, violent and gripping in some scenes, it doesn't have the impact that many of the previous movies of this genre have had.

Very engaging.

The 'f'ing movie was plenty exciting, offered plenty of action, and seldom let up.

Gere was the most convincing actor to me but has to deal with the most predictable storyline as well.

The first hr or so was very slow and confusing, so much so that people began to WALK OUT of the theater.

On the down side though this overall is a touch too ploddingly slow and about 20 mins or so too long, but the interconnecting ending is worth the wait even if it is a little too neat and contrived to be necessarily all that believable.

No characters are built, no story background is offered.

However Cheadle's character is a bit too cliché and Snipes is channeling from another era.

"The Wire" has rendered even crime films deemed "classics" trite and outdated.

Waste of time .

This movie is pretty entertaining.

Overall, a very entertaining and engaging movie.

This became predictable by the end.

The idea of the movie was OK, but it was too slow, it's like half of the movie there's really nothing going on.

This movie is very intriguing.

It's intense and believable, and even tender and sorrowful work, like when Gere's character is around a prostitute he's fallen for.

Veteran beat cop Eddie Dugan (Richard Gere) is just trying to get through his last week before retirement in the most uneventful way possible.

By no means is it a classic, but damn it's entertaining!

Brooklyn's Finest starts off with a slow draw into a car where Sal (Ethan Hawke) and Carlo (Vincent D'Onofrio) are discussing Carlo's latest trial.

This predictable film was clearly Fuqua's attempt to mesh his own 'Training Day' with Scorcese's 'Departed,' filled with dirty cops and a tale in which almost everyone dies in the end.

There's some well written characters and in one of his better performances, Gere cuts a sympathetic figure as the timid, world weary cop on the edge of retirement and there's intense stuff from Cheadle and Hawke in their respective roles.

Don't waste your money unless you have a desire to get depressed.

The actors take material that could be trite and unconvincing and even stale post-Lumet-cop-movie stuff and make it their own, compelling and heartfelt, and true to the extent that the genre allows.

I made a conscious effort to notice that for the remainder of the film and I still came up empty on the ol' smile-o-meter.

But it's all happening at once and is often pretty exciting stuff.

All in all it's a pretty dark movie, full credit for exposing a truly chaotic landscape of cops, bad guys, poverty, prostitution, guns, and drugs combining to form one large, nasty, unpredictable brew.

It's filmed in an intense, direct way, the plots interwoven until they finally converge (improbably) at the end.

When the climax is finally about to arrive, it's ridiculously pseudo-dramatic, predictable and disaoppointing.

The movie is intense.