Cop

Cop

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Cop Reviews

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 Zolo94
April 27, 2014
James Woods rocks it in this one as a cop in LA with loose morals and a high sex drive. A very unsettling film experience.
December 28, 2008
Watered-down version of what was a good James Ellroy novel. Woods cut out what makes Lloyd Hopkins so driven (and messed up).
Nukleopatra
February 22, 2013
Average cop thriller carried by Woods' portrayal of a rogue cop willing to do anything to get his guy...... or gal.
January 29, 2013
James Woods is at his scenery chewing best in this James Ellroy adaptation from James B. Harris, and he's the main reason to check it out, right down to the hilarious final line.

Worth a rental.
September 12, 2012
Woods' excellent performance, who is also one of the producers of this movie makes this cop thriller entertaining to watch, not to mention some suspenseful scenes and some surprisingly amusing moments of black comedy. It is about a dedicated cop, who is great at his work but he is obessessed with his job, he is occassional corrupted, he breaks the rules and being a cop has become his life. His wife and his young daughter left him for a better life. Now he is on the murder case, which a young female writer has been brutally murder and he finds himself in a complex case. When his recent murder case might be linked to several murders have been going on for years. The premise might seen familiar to some viewers. But it is Woods' role makes up for most of the slow spots in the movie. Woods have been always an fascinating actor to watch, even in unpleasent roles and he is usually a scene stealer in supporting roles. If you haven't seen this underrated forgotten crime thriller. This is certainly worth a look. Based on a novel by James Ellroy (Dark Blue, L.A Confidental, Street Kings). Although the novel is titled "Blood on the Moon".
September 2, 2012
The good news is this is James Woods at his cynical best delivering some great lines. The bad news is the murder-mystery story is jumbled, confusing and will make you yell out loud (like I did) "That's it?!" when the end of the film comes to an abrupt halt.
Still Woods was born for the role and plays it to the hilt.
May 27, 2012
Solid cop action/drama. The story is pretty average, but James Woods elevates the film to something more interesting than the script deserves. I remember thinking when I first watched the film when it was originally released that it seemed odd and kind of anti-climactic that when Woods finally faces down the serial killer, that it was also the first time the audience had seen the killer. I remember thinks this simply did not work dramatically, but then "Seven" did the same thing about ten years later and absolutely pulled it off with the great Kevin Spacey, so who knows.
March 15, 2012
The main reason you should see this film is for James Woods performance as the brutal Lloyd Hopkins a James Ellory creation who Woods was born to play.

While LA Confidential is still the benchmark for most James Ellroy based films ,this one makes a pretty good stab at it even if the story is a little foggy in places.

Det Lloyd Hopkins is determined to catch a serial killer who has been operating for the past 15 years killing young girls and sendin poetry to a woman Woods Becomes involved with.
That part of the film feels a bit obvious for my taste .

But what holds it togehter is Woods ,whether he is telling his young daughter about crime busts,Killing suspects or insulting his superiors ., he never puts a foot wrong and plays the role to the hilt .

James B Harris who worked with Kubrick in the late 50s and early 60s directs reasonably well ,although the films ends on a rather blunt note ,which kind of annoyed me after all that went before.

Pretty good 80s noir then saved by a strong cental performance.
Jake
February 25, 2012
If it wasn't for the awesome central performance by James Woods this would of been your typical cop movie but he is the driving force behind this otherwise routine movie.
Arthuro
July 4, 2010
James Wood, toujours aussi en forme, campe ici un flic cynique qui se lance corps et âmes dans une enquête sur un meurtre particulièrement sordide.
Le scénario, signé James Ellroy (encore !), est assez moyen, et c'est plus le talent des acteurs qui nous entraîne que l'intrigue. Pour le reste, c'est un film de seconde zone des années 80, donc autant dire que plus classique, tu meurs.
Les 100 minutes passent finalement assez rapidement, c'est donc qu'il doit y avoir un petit quelque chose qui donne de l'intérêt au film.
cancercapricorn2002
cancercapricorn2002

Super Reviewer

July 7, 2011
To start out here I will have to say that this may just be the best adaptation of a James Ellroy book to hit the screen.

Cop is not a dense, labyrinthine crime epic in the vein of LA Confidential and The Black Dahlia (both of which failed, Black Dahlia much more so, in the almost Herculean task of transposing Ellroy's words onto the screen). Cop combines elements of the rogue cop, police procedural and serial killer genres into an uncut little gem of a neo noir crime film.

The other reason it works so well is the casting of James Woods, who in the eighties had the market covered for hard-boiled sleazy burnt-outs, as the central character, Detective Sergeant Lloyd Hopkins.

Cop is based on Blood on the Moon, the first of three books featuring the character of Hopkins Ellroy wrote in the mid eighties. It's been a while since I've read Blood on the Moon so I've forgotten many of the differences. Certainly, I recall the ending of the film is different to Ellroy's book.

The film opens with the discovery of a mutilated body in an LA apartment building. Hopkins is first on the scene and the only clues are a blood-smeared book of radical feminist poetry called Rage in the Womb and a stack of newspapers with the same advertisement for a swinger party circled in red.

The newspaper adverts lead him to blonde bombshell, Joanie Pratt, "former actress, model, singer, dancer and what usually follows", who admits she was helping the murdered woman, Julie Niemeyer, research the swinger scene.

When a letter written in human blood turns up in Niemeyer's PO Box, Hopkins pulls the files on all unsolved LA homicides going back several years. It's not long before he deduces he's dealing with a serial killer. The link between his victims: they were all innocent.

It's the one thing his born again Christian commander does not want to hear. Serial killers "panic the public and embarrasses the department" he tells Hopkins. There's also the matter of Hopkins' well-known reputation for having "a hair up his ass" about murdered women.

Hopkins demands additional men and resources to find the killer or he'll go to the media, then storms out of the commander's office. Undeterred, Hopkins fronts a Sheriff's deputy, Delbert 'Whitey' Haines, who discovered two of the bodies Hopkins suspects were victims of the serial killer.

Hopkins creeps Haines' pad and finds marijuana, S&M gear, guns, and a wire that someone has been using to secretly tape Haines and his attempts to extort gay hustlers, including one called Birdman, for drugs and money.

Next he checks out women's bookstores for leads on the bloodstained tome of feminist poetry found at scene of the Nieymeyer killing. Despite their obvious differences, he and the owner of one of these stores, 'Ms' Kathleen McCarthy, a tense, chain-smoking anti-police feminist strike up a rapport.

He takes her to a party full of LAPD brass instead of his wife (who has left him by now) and talking to her later that night discovers that she is still recovering from a rape that occurred in the last year of her high school.

She also tells him since that time fifteen years ago, someone has been anonymously sending her flowers. When Hopkins notices photos of Haines and another student nick named Birdman in McCarthy's senior Year Book, his suspicions are further raised. He breaks into McCarthy's house and finds that the flowers, which she has kept pressed in glass, correspond to the dates on the women he suspects were victims of the serial killer were murdered.

From here the body and sleaze count ratchets up considerably. The killer murders Pratt, sending Hopkins' commander incriminating photos of Hopkins and the woman having sex in the kitchen.

Birdman is the next to be murdered, after we see him get in a car after soliciting the driver for sex, and Hopkins shoots Haines after forcing a confession from him that and Birdman were responsible for raping McCarthy.

Watching Cop now is like viewing a primer on how to do an eighties crime film. The look is washed out, the sound track comprises heavy synthesiser interspersed with wailing sax, and there's lots of badly dressed cops in houndstooth jackets. The studio behind Cop were reportedly concerned that it would be seen as a slasher movie when what they wanted was something more like Dirty Harry. They ended up with both.

Cop came before Silence of the Lambs had made serial killers acceptable for mainstream audiences (although Michael Mann's Manhunter, a far better film, was released in 1986), and the plot was one of the earlier iterations of the 'cop-goes-AWOL-in-order-to-hunt-down-serial-killer-no-else-believes-exists' story. The material is well handled, the film managing to capture the frenetic pace of Ellroy's writing and the great dialogue.

Salvador, Once Upon a Time in America, Videodrome and much under-rated Best Seller, were all under Wood's belt when he did Cop, and he's at his reptilian best as Hopkins, a womanising sociopath who doesn't just cut corners to get what he wants; he'll smash down the entire building.

He's the kind of policeman that, completely unprovoked, kills a suspect and gets his partner, Dutch, (Charles Durning) to deal with the consequences while he hits on the dead guy's girlfriend. "You blow away a broad's date, the least you can do is drive her home," Hopkins tells Dutch.

Indeed, director James B Harris, who also wrote the screenplay, doesn't baulk at depicting Hopkins at his worst. This includes showing the Hopkins' barely constrained boredom, snatching glances at his watch, as McCarthy opens up to him about her life.

Assisting Woods is a great cast of supporting actors, including Charles Haid as Sheriff Delbert Whitey Haines, Durning and Lesley Ann Warren as the feminist bookstore owner, Kathleen McCarthy, who makes her otherwise stero-typed character almost believable.
One of the best of the genre. Check it out.
Gre da Vid
June 16, 2011
There's only so much that can be done with cops and cop films. Cops have personal problems and can't easily solve crimes. After trudging through clues, its the high school yearbook that solves the crimes. James Woods is always worth watching even though this film is a little light in drama.
kingofthecorn
June 17, 2010
(***): Thumbs Up

James Woods gives one hell of a performance here.
thefog1331
thefog1331

Super Reviewer

March 13, 2010
The good news is this is James Woods at his cynical best delivering some great lines. The bad news is the murder-mystery story is jumbled, confusing and will make you yell out loud (like I did) "That's it?!" when the end of the film comes to an abrupt halt.
Still Woods was born for the role and plays it to the hilt.
March 5, 2010
COP = slow and dull and overlong with nothing really of interest. Plus there is no real payoff at the end - James has kind of a lame one liner and shoots the screen. There i ruined it for you.....
June 16, 2008
Daft plot. Ridiculous denouement. James Wood is his usual engaging self though.
339z
June 12, 2008
wow i have just seen this 4 the 1st time n think that this is a good thriller movie...the director of this Drama, Mystery & Suspense movie had done a great job of directing this movie because you never know what 2 expect throughout this movie...this has a good cast of actors/actressess throughout this movie...i think that james woods plays a good part throughout this movie...this is a thriller movie from the 1980's n this has a good cast of characters throughout this movie..this is a good thriller movie because you never know what's going 2 happen throughout this movie
garyX
garyX

Super Reviewer

January 17, 2008
James Woods plays an unconventional cop on the trail of a serial killer in this purely by the numbers thriller from the 80s. In fact the script shows just as little imagination as the title; it's so formulaic it borders on the absurd. Burnt out cop who doesn't play by the rules, chewed out by his captain, internal affairs investigation, vicious serial killer yadda yadda yadda. There's nothing here we haven't seen a million times before. It's not as trashy and gratuitously violent as many mainstream 80s thrillers, but it's unpleasantly sleazy, Woods' character comes across as a wholly unsympathetic and self centred ass-hole, and Lesley-Anne Warren's so-called feminist is so sappy and naive you just want to shake some sense into her. Add the usual mix of B-movie stalwarts in the supporting cast and you have a typical Channel 5 afternoon TV movie with more swearing. Give it a miss.
LannyGrant
September 12, 2007
The best ending of all time. Woods as usual rocks. Very violent, very good
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