Keep it in the family. Even corruptness.
After a bunch of his fellow cops are shot dead in what was supposed to be a drug-ring raid, Ray Tierney (Edward Norton) returns to the detective field to figure out just who killed these cops and just exactly how it all happened. And because his daddy (Jon Voight), his brother Francis (Noah Emmerich), and brother-in-law Jimmy (Colin Farrell), are all apart of the force as well, it should make absolute sense that he should have no problems getting the right kind of answers he so desperately seeks. However, what Ray begins to find out, though, is that the details surrounding the killer and what happened are a bit shady. For one, nobody can find the supposed-shooter, and to make matters worse, it turns out that perhaps some brothers in blue may also be a little bit dirty. Which is expected, but there’s a possibility that these dirty cops may have been involved with the killing of the other cops, leading Ray to start questioning all of the cops around him, including his family. Obviously, they’re all appalled and shocked by Ray’s findings and accusations, but at the same time, there’s still some truth to it, and this is when everybody involved starts getting desperate and finding a clean way out of this dirty situation.
If you’ve seen one cop movie, generally, you’ve seen ’em all. Hardly do they ever stray away from the norm of what we’ve all come to know and expect with a cop movie, which begs the question: Why does Hollywood keep making them? Is there really any huge sell or draw in them that makes people flock out to the theaters to check them out? Or is that Hollywood can’t get over its weird affection and interest in the brothers in blue, so they still continue to make movies about them, not offering anything new or interesting to say about them, either?
Well, whatever the answer may be, Pride and Glory doesn’t really do much to make sense of it.
Although, Pride and Glory is a different kind of cop movie; for one, it’s about dirty cops, being, well, dirty and corrupt as all hell. Given today’s political climate, you’d think that this would be a hot-button topic worthy of being touched upon and prodded at, but director Gavin O’Connor doesn’t really seem interested in diving deep into that discussion. Instead, he just sort of wants to show off his dirty cops as they were; doing stuff they shouldn’t be, pointing the fingers at others, and telling lookie-loos to “mind their own business and shut their mouth”. O’Connor may have some sort of interest in what drives a seemingly normal, everyday cop, to become a drug-dealing, money-stealing baddie, but he doesn’t quite show it.
Most of the time, O’Connor allows his movie to fly-off the rails with fine actors going a tad bit over-the-top. Gifted character actor Frank Grillo is sadly the clearest example of this as his cop character, albeit a dirty one, wants absolutely each and every person in the movie to know it. It’s almost as if any and all subtlety was lost here and O’Connor told Grillo to “just have fun”, and he really did. Problem is, all of the yelling, punching, kicking, and gun-slinging doesn’t do much to help create a character, but further highlight a type that needs to be done with.
But Grillo isn’t the only one who is dialing it way, way up.
Colin Farrell is intense, doing his best De Niro impression here, but once again, his character feels like he has no rhyme or reason for breaking bad. Sure, we get the idea that maybe greed took over and he couldn’t stop himself, but we can only assume that because we never see this character actually be a good cop – we just see him as this dirty one, who can’t be trusted with anything. There’s an unpredictable nature to Farrell that he brings onto the screen each and every chance he gets, but mostly, it just ends with him yelling or acting out in some way.
I mean, hell, the guy almost hot irons a baby! What the hell!
Edward Norton, thankfully, dials it down a bit more and seems to actually be more interested in diving dig into his character’s psyche. Issue is, this tends to make his character feel a bit more boring and dry than he probably should, which is an even bigger shame because he’s the lead protagonist we’re supposed to stand behind, root for and spend all of our time with. Norton has solid scenes with just about everyone around him, but when it comes to pushing the story-line along, there’s a never ending sense of normality that overtakes Norton, as well as the movie and it’s hard to get away from.
By the end though, O’Connor decides to stop sitting around and let everything and everyone, within Pride and Glory, run wild.
This means that guns are shot, people are beaten-up, noses are bloodied, faces are battered, people start shouting, and out of nowhere, which was, at one point, a slow, almost meandering drama, is now this wild-and-out, action-thriller where people can’t stop beating the hell out of one another. Is it exciting to watch? Sure. Does it feel like a whole completely different movie? Oh, most definitely and it’s an issue that seems to make Pride and Glory, yet again, just another cop movie.
Although still plenty more watchable than season two of True Detective.
That’s for sure.
Consensus: Despite a solid cast, Pride and Glory is drenched into too many cop movie cliches and conventions to really do much, other than just mildly entertain those looking for some entertainment.
6 / 10
Photos Courtesy of: Aceshowbiz