Street Kings (2008)

Aka: Fake City

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Tom Ludlow is a veteran LAPD cop who finds life difficult to navigate after the death of his wife. When evidence implicates him in the execution of a fellow officer, he is forced to go up against the cop culture he's been a part of his entire career, ultimately leading him to question the loyalties of everyone around him. |  »

David Ayer, who wrote TRAINING DAY, gives us another unflinching look at disillusionment and questionable decision-making within the ranks of the LAPD. Ayer's second directorial effort tells the story of burnt-out Tom Ludlow (Keanu Reeves), a functioning alcoholic and undisciplined detective with the Special Vice Unit. While so much of this characterization appears resonatingly familiar at first, we soon learn that the character here has been tweaked. While this loose cannon in no way does things by the book, he is also far from playing by his own rules. Ludlow is relied upon by the other detectives in the unit,...
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and by their almost maniacally ambitious Captain Wander (Forest Whitaker), to go outside the law whenever needed. The infractions he is pressured to commit are quickly and uncomplainingly covered up by Captain Wander, while Ludlow and the rest of Special Vice receive accolades for their high clearance rate. Not until one of these cover-ups leads to the brutal murder of his ex-partner (Terry Crews) does Ludlow try to dispel the apathy (and the vodka fumes) clouding his purpose. This procedural melodrama is almost completely internalized within the LAPD, as Vice cops investigate Narcotics cops, who snitch on Homicide cops, and no one talks to Internal Affairs, etc. Crimes are staged, executed, and pinned firmly on suspects with alarming efficiency as the necessary DNA, murder weapons, and fingerprints are then sprinkled around the scenes after the fact.

A study in familiar elements slightly skewed, STREET KINGS provides a satisfying dose of bright, loud, violent police work blended with the right amount of discreetly passed interoffice envelopes to keep the taut intrigue in step with the body count. Little time is wasted on exposition, and the audience's ability to extrapolate is given a great deal of credit as Ludlow's dead wife, substance abuse, and past career troubles are flashed at us briefly, then put away in favor of the crisis at hand.
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In the wake of the L.A. riots, an LAPD vice detective who always went above and beyond the call of duty to keep the streets safe receives a startling wake-up call that leaves him convinced he can no longer employ the tactics that made him so effective in his work. LAPD veteran Tom Ludlow (Keanu Reeves) has borne personal witness to the worst that the streets have to offer, and when his partner, Detective Terrance Washington (Terry Crews), is killed the violence strikes a bit too close to home. Now Ludlow is on a mission to bring his partner's killer to justice, though Captain Walker (Forest Whitaker) is concerned...
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that the hotheaded detective is taking the case too personally. Now, as Captain Walker attempts to convince Ludlow to work within the confines of the law, Internal Affairs Captain Biggs (Hugh Laurie) begins following the vengeful lawman's every move. In order to accomplish his mission, Ludlow recruits fresh-faced Robbery Homicide Detective Diskant (Chris Evans) to trace Washington's killers through the winding streets of Los Angeles. Later, when Ludlow and Diskant come face to face with the remorseless cop killers, they must chose between upholding the law and seeking bitter vengeance.
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Tom Ludlow is een politieagent die het na de dood van zijn vrouw niet zo nauw neemt met de wet en altijd volgens zijn eigen regeltjes opereert. Wanneer er bewijsmateriaal opduikt waarmee hij schuldig lijkt aan de dood van een collega, moet hij het opnemen tegen de politiecultuur waar hij al z'n hele carrière onderdeel van uitmaakt.

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Street Kings News Articles

The Silence quietens America's crime thriller genre

Can Baran Bo Odar's moody and menacing debut breathe new life into the weary world of Hollywood cop films?Of all the genres Hollywood has visited and revisited over the years, perhaps it's the police drama that can boast the greatest heritage. For decades, the American film scene has consistently delivered classics – Touch of Evil , Serpico and The Untouchables – and characters with the magnetism of Harry Callahan, Jake Gittes and "Popeye" Doyle. In recent years, though, Hollywood has let us down with its cop films. The same system that not long ago gave us Heat and La Confidential has turned to wheeling out substandard fare such as Street Kings , Brooklyn's Finest and We Own the Night – films that have turned the police procedural into a drowsy rendition of worn conventions as opposed to the weighty, character-driven dramas that mark the genre's finest hours.Many of Hollywood's cops and criminals
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