Customer Reviews

Cop

5 star:		(9)
4 star:		(5)
3 star:		(1)
2 star:		(2)
1 star:		(0)

 

 

When I first saw COP back in 1988, I could not believe how tough and on-the-edge this action thriller was . . . not to mention the film's total lack of respect for political correctness. James Woods is brilliant and in rare form here. Be warned. Language, action and attitudes are frank. Characters are hardcore and flawed - this includes the hero - and nothing is censored for mainstream tastes.

If you're looking for a politically correct sissy movie like the forgettable PG-13 crap they make today, where all content is watered down so that some conservative soccer mom in Utah can enjoy herself, stay away. This movie means business and does not pull any punches . . . which is why I love it!

James Woods plays Lloyd Hopkins, a hard-boiled American police detective on the trail of a serial murderer who is victimizing women in Los Angeles. The pursuit leads him through a world that has become his own natural habitat . . a nasty, uncompromising world of crime, drugs, prostitution and male hustlers where "innocence kills," according to Hopkins, and continued exposure corrupts.

Paradoxically, this harsh world is also a world of love, secret admirers, romantic feminist poets and modern chivalry. But these elements are woven underneath the tough exterior.

I don't want to say too much about this movie, just this. BUY IT AND WATCH IT! Definitely recommeneded! But it's only for cool guys who love the hardboiled tough stuff! James Woods has never been better!

Maverick detective Lloyd Hopkins (James Woods) stumbles upon a serial killer that has been undiscovered until now when he discovers a crime scene involving ritualistic style murder. Tied into a network of swingers, the killer taunts Hopkins by writing letters ostensibly addressed to his victims but really designated for the police. Just as he is about to put the pieces together the pieces of his personal life fall apart when his wife leaves him ("you're a sick man") with their daughter because she's afraid he'll pass along his "sickness" to their daughter. Equal parts brilliant, defiant and unorthodox Hopkins isn't a likeable man but he doesn't have to be; he's a typical hardboiled screwed up anti-hero. He may not be somebody you like but he has a clear idea of right and justice. Hopkins must pursue the leads himself when solving this case becomes his personal obsession.

"Cop" is as brilliant, unorthodox and defiant as its main character. Producer/director James B. Harris doesn't allow the material to get away from him and James Woods. Playing like a darker more serious variation on the Dirty Harry films, Harris and Woods don't stoop to imitation and plow their own ground planting the seeds of an involving, powerful and sometimes unpleasant murder mystery. A cult classic, "Cop" finally reappears and will hopefully get its due as an uncompromising and powerful crime drama that doesn't shy away from the nasty side of the street nor does it try to gussy up the drama. A unknown classic much like (although quite different in tone from) "Night Moves", fans of noir films will love this adaptation of James Ellroy's ("L. A. Confidential") novel.

Although it doesn't receive a top notch transfer, "Cop" looks extremely good. The images are crisp throughout most of the movie and while there is a hint of edge enhancement that crops up now and again the film looks, for the most part, like it should-dark. As a modern day variation on film noir, the film has just the right texture and feel for the genre with deep, rich shadows and muted colors. The 2.0 Dolby Digital Surround track is pretty basic-the stereo effects work quite well but aren't always used to optimal effect. Still, the action sequences and scenes where the score take center stage sound robust and have a nice kick to them.

Beyond previews we don't any extras. The audience for this film is so small its unlikely that it will probably receive the attention its due unless a company like Anchor Bay licenses it at some point. Including the original theatrical trailer would have been a nice touch and I'm surprised that MGM chose not to include it as part of the package.
There isn't a commentary track here. It's unfortunate because the movie certainly could use a commentary track from Woods or Harris. Which Harris shooting "The Black Dahlia" (as producer with Brian De Palma directing based on another James Ellroy novel) hopefully we'll see this reissued with something in the way of commentary or extras.

A marvelous dark film that won't be everyone's cup of tea, "Cop" is a worthwhile film. The transfer is solid without analog flaws. It's a pity that "Cop" doesn't have any extras but it has a fairly small audience.

This is one of the best cop movies ever made. I didn't get to see this thing until maybe five years ago and it was purely accidental. I couldn't believe I had missed such a great flick. James Woods is just so classic in this. Everything is just gritty as hell. It's all straight to the point. Just look at the title. One of the best endings to a movie I've ever seen, and only Woods could pull it off. Just...just plain good from beginning to end. He plays a guy you just love to watch. How he relates to his family and fellow officers, his kid, his wife (he hates)...and his drive and passion to find the bad guy and end things quick and dirty. Dirty Harry met his match with this guy. To think it's coming out on DVD now, and just now! What the hell is that about? Movies like this should be bumped up on the list for DVD production without question.

Woods' delivery of body language, sarcasm, force of will, whit, and general manner is unmatched by many of today's "tough guys." Watch the master at work here. After the final scene when the screen flashes to black (it doesn't fade at all, which works perfectly), I literally yelled out loud with a clenched fist in the air, "Hell Yeah!"

If you liked the attitude in Mel Gibson's Payback, you'll eat this one up alive.

Director/Producer James B. Harris has a pretty impressive resume: as producer, THE KILLING, PATHS OF GLORY & LOLITA with Stanley Kubrick. As a director the spine-tingling Cold War thriller THE BEDFORD INCIDENT and the bizaare SOME CALL IT LOVING (or as a reviewer in CINEFANTASTIQUE referred to it, "Sleeping Beauty is a Whore") and COP. Having worked previously with Jimmy Woods on FASTWALKING, they reteam for a chilling tale of a cop who knows no bounds and a serial killer who begins a game with him. Woods is Woods. Another in a long line of wound tight characters. Great support from Charles Durnning, Leslie Ann Warren and Charles Haid. The ending is a classic that has to rank with Cagney's finale in WHITE HEAT. No extras. Just the movie. I'd rank this one up there with Don Siegel's DIRTY HARRY or MADIGAN.

I first saw "Cop" when it was released, and remember thinking how brooding and disturbed it was at the time. I just re-watched it on DVD, and think it still holds up remarkably well, though it's not for the faint of heart. James Woods is perfect as the jaded homicide investigator Lloyd Hopkins, who is assigned a ghastly case involving a young woman. His mentor, Dutch Peltz (Charles Durning) assists his investigation by repeatedly running interference for him, as their supervisor Captain Fred Gaffney (Raymond J. Barry) has a personal distaste for Hopkins, and doubts his theory that the latest victim is the most recent in a string of serial killings. While the entire cast in this film acquits themselves very well, Woods, During, and Barry are all tremendous in their roles, with Durning turning in the most nuanced performance in my estimation. The final cop with a major role in the film is crooked Deputy "Whitey" Haines, played by the great character actor Charles Haid, who is both menacing and creepy.

Hopkins has trouble at home, and his wife leaves him and takes the one thing he truly loves with him: his daughter. There are several contrivances in the film, and I found it unbelievable that a detective of Hopkins' abilities wouldn't at least attempt to track his daughter down; likewise a few of the pieces of detective work required connections that are almost impossibly coincidental in the real world. Despite these petty annoyances, the movie works very effectively as a thriller, and even takes Hopkins into the unseemly underbelly of the world of feminist poetry. (Really.) In an amazing coincidence (or superhuman piece of police work) Hopkins gets involved with an emotionally fragile poet, Kathleen McCarthy, played brilliantly but annoyingly by Lesley Ann Warren, who has a dark past and a connection to the killer. I won't reveal how this plays out because it's too intriguing to watch for yourself. Suffice it to say that after a tumultuous investigation Hopkins has a one-on-one encounter with the killer, played effectively by Steven Lambert. (Though Hopkins' arch-nemesis, Lambert has precious little screen time.) The film culminates abruptly in my favorite closing scene in any police movie bar none, and I wouldn't dream of revealing it.

The film is very well acted, the pacing is great, and the editing is taut. Little things like sound effects are incorporated brilliantly into the final film, and despite several very unlikely coincidences in the investigation, the story is interestingly told. Even when you think you know what's going to happen next (you'll be hit and miss with your expectations,) it's so well executed that it doesn't matter if it turns out exactly as you predicted, it's still suspenseful and atmospheric.

Sadly this DVD has no real extras. I would have especially liked a commentary track from Woods or director James B. Harris (who also wrote the screenplay.) The film looked better in the theater when I last saw it, but the DVD image quality is very good, and the sound is crisp. For my money "Cop" should have been a much bigger box office success than it was, but in the movie business profitability is more a measure of promotion than quality. This is a fine and suspenseful film that holds up as well today as any police thriller from the 1980s, and I recommend it to mature audiences without hesitation.

My husband is a big James Woods fan - he even met him this past summer! I was so glad to find this older title available, he loved it!

The ending of the movie made it all worthwhile for me. I am a big James Woods fan so always enjoy him.

James Woods and James B Harris made a brilliant film out of James Ellroy's
" Blood On The Moon". Outstanding supporting cast as well.Charles Durning once again turns in a stellar co-starring role.
This is a must see, one of James Woods very best.

I want a special edition dvd of this film.Its one of my favorites and it needs to be on dvd.James woods brings your average cop vs killer story to screaming life.think dirty harry if played by james woods and you will know exactly what this film is like.They show it on the bravo channel alot,my vhs is worn out,I want it on dvd!

From Dick Tracy to Dirty Harry, the story is the same: rogue cop doesn't play by the rules and is on the track of a killer. Goody two shoes bureaucrats and suits try to rein him in. He solves the case, but not without killing a few crooked cops, perps, and stepping on numerous toes. You can't make an omelette without breaking eggs. He is suspended, stripped of his badge -- but that doesn't stop him from taking justice into his own hands.

With the generic title of "Cop" this same-old same-old old story could be a cliche, but it avoided that pitfall by great attention to the quirky details -- of character and place -- that gave it that ring of authenticity. For example, in "Cop" Los Angeles is quite different from Silverlake (a sub set of L.A., actually), while Hollywood is quite another kettle of tea from West Hollywood.

The characters may be stock characters, but they are nuanced and complex, never mere cardboard cut-outs. Hopkins (Woods) is a great example, as he seems to be a crude knuckle-dragger but he can relate to Lesley Ann Warren's feminist book store owner. He shows great sensitivity when it comes to her problems, though he only fakes it to solve his case. He is driven to do whatever it takes to catch the killer, even if he has to pretend to be a sensitive guy.
Hopkins has a good rapport with his young daughter who begs him to tell her 'bedtime stories.' She is a chip off the old block. His wife, however, finds the stories deeply disturbing, as they are about his cases, and grittily realistic. James Woods' specialty is playing intense, driven characters, who blur the line between good and evil. This cop is no exception, except that this is an exceptionally good Woods performance.

Lesley Ann Warren played a feminist writer/book store owner with a traumatic past that may hold the key to the mystery. She also gives great nuance in her performance. L.A. Warren was very supportive of the James Woods 'tour de brute force.'

Charles Haid was a cop on Hill Street Blues. He is a cop, here, too, but with a twist. Another excellent performance. Charles Durning also usually plays police officers, and he is one here, but still his performance is worthy of mention.

Don't let the generic title fool you. Great performances, writing, authentic locations, and non-stop action made "Cop" riveting from start to finish.

The Onion Field (1979) This is the breakthrough role for James Woods. He played a cold blooded cop killer in this film based on the book by former cop turned novelist Joseph Wambaugh.

Salvador (Special Edition) (1986) Woods' portrayal of a journalist in El Salvador garnered him an Oscar nomination. Directed by Oliver Stone.

Nixon - Collector's Edition (1995) Woods was a very convincing H.R. Haldeman in Nixon, also directed by Oliver Stone.

Dirty Pictures (2000) This made-for-TV dramatization/documentary of the flap caused by a Robert Maplethorpe photography exhibition in Cincinnati starred Woods as museum director Dennis Barrie.

The Boost (1988) Woods was Lenny Brown, a salesman who turns to coke for the "boost that refreshes." Sean Young played his wife, which led to much backstage drama, restraining orders, and bizarre charges of voodoo, even.

Secretary (2002) Lesley Ann Warren was Joan Holloway. James Spader played a very demanding boss, but Lesley Ann Warren was not his secretary. Maggie Gyllenhaal was assigned that task.

The Quickie (2001) Lesley Ann Warren was Anna. Don't know what this movie was about, but I'll wager a quick guess.

Pure Country (1992) Lesley Ann Warren was Lula Rogers, the ruthless manager of country singer Dusty, played by George Strait.

Songwriter (1984) Lesley Ann Warren was Gilda in this country music saga that also starred Willie Nelson and Kris Kristofferson. Directed by Alan Rudolph.

Choose Me (1984) Lesley Ann Warren was Eve. Directed by Alan Rudolph. Rudolph seems to choose Lesley every chance he gets. She rarely disappoints. Wish I could say the same for Rudolph, the red-faced director.