Cast: Stephen Baldwin, Chris Penn, Gina Gershon, Mike McGlone, Paul Guilfoyle, Amy Irving
Director: Bruno Barreto
Producers: Martin Bregman and Michael Bregman
Screenplay: Jeremy Iacone based on the book by Bo Dietl and Ken Gross
Cinematography: Ron Fortunato
Music: Bruce Broughton
U.S. Distributor: Stratosphere Films
Every once in a while, a movie comes along that's so generic and familiar in its material and characters that it's impossible to get excited about the proceedings. Often, the film is not poorly- made, and the plot may even be moderately interesting, but the overall experience is hampered by a pervasive sense of dejá vù. Such is the case with One Tough Cop. Nearly every aspect of this motion picture has been used countless times in the past, from the noir crime movies of the black-and-white era to the hip, post-Tarantino gangster tales of this decade. As one might expect from the title, One Tough Cop is a cliché.
Those who are frequent listeners to Don Imus' syndicated morning radio program will recognize the name of Bo Dietl, the private investigator and would-be movie reviewer who is a frequent guest. Before entering his current line of work, Dietl was a member of the New York City Police Department, and his book (co-authored with Ken Gross) told a somewhat fictionalized (to what degree is up for speculation) account of his life on the streets. Film maker Bruno Barreto (Carried Away, Four Days in September) apparently thought Dietl's story would make an interesting movie, so he agreed to direct. Barreto has miscalculated, however. While One Tough Cop has its moments, viewers are likely to feel that they're walking down a well-trodden path.
Bo Dietl (Stephen Baldwin, looking a lot like his brother, Alec) is an idealist. He became a cop because he wanted to make a difference, and he's good at what he does. To him, it doesn't matter that his best friend, Richie (Mike McGlone), is a major Mafia player (they don't talk business) or that his partner, Duke (Chris Penn), is a drunk with a gambling problem. Unfortunately, it does matter to the FBI, who threaten to drag Bo's name through the mud if he doesn't rat on Richie. When Bo refuses, his troubles begin. Meanwhile, as Internal Affairs turns up the heat, Bo becomes involved in the investigation of the rape and beating of a nun. The fallout from this case creates a situation that may see Bo lose his career.
A cop with a gambling problem. A nun beaten and raped. Sound familiar? But it's not just Bad Lieutenant that One Tough Cop takes its inspiration from. Bo's character, a tough guy with a heart of gold who finds himself unjustly accused, is a time-honored hero. His decision of whether or not to turn in Richie to save his own skin is a classic dilemma faced by cops in dozens of movies before this. Everyone in this film feels like a stereotype - Bo, Duke, Richie, Joey (Bo's girlfriend, played by Gina Gershon). We know exactly how they're all going to react in any given situation, because we've seen them before. For those who don't like challenging movies, I suppose One Tough Cop offers a comfort level that only familiarity can provide.
The performances aren't bad, but they're not memorable, either. Stephen Baldwin, one of the ubiquitous Baldwin brothers, presents Bo competently. Although he doesn't work wonders with the material, he succeeds in getting the audience to sympathize with his character. Chris Penn's range isn't stretched by playing Duke, nor is Mike McGlone's (best known as one of The Brothers McMullen) as the bland Richie. Gina Gershon, the most dynamic member of the cast, is relegated to a supporting role. And character actor Paul Guilfoyle (The Negotiator) sinks his teeth into the part of a loan shark with a chip on his shoulder.
One Tough Cop tries to be gritty and believable, but "N.Y.P.D. Blue" got there first (albeit without as many four-letter words). The result is a predictable storyline that doesn't add up to much as a police drama. Bo is not the kind of individual who rivets our attention or gets under our skin. Consequently, this is strictly video or cable TV fare. There's nothing in the performances, the characters, or the acting that warrants a trip to a movie theater.
© 1998 James Berardinelli