Dark Blue proclaims itself a character drama and a voyage of self-discovery for the flawed cop -- which proves to be its fatal weakness.
L.A. cop-and-corruption drama set against the Rodney King verdicts is an uninspiring morass of been-there, seen-that material.
| Original Score: 1/5
Shelton, working from a script by David Ayer, is eager to use each and every cliché at his disposal.
| Original Score: 2/5
The movie ends not with a bang but a wimp.
| Original Score: 2/4
When it comes to Dark Blue, you've seen it all before and seen it done better.
Its imagined grittiness is polished to a Hollywood high gloss. Its hard-edged dialogue...has had all its shock value re-written and over-rehearsed right out of it.
| Original Score: 1/4
... there's not much here but for the pulp entertainment value.
| Original Score: C+
...standard, formulaic, Hollywood crime fluff.
| Original Score: 5/10
The movie has a distinctly dated vibe.
The script is overloaded with exposition and incident, and for long passages it shows all the verve and imagination of an episode of Hunter.
Speedman doesn't show much in his first big movie role, while Russell shows too much.
Like Los Angeles in the spring of 1992, Dark Blue generates tension but eventually goes up in smoke.
| Original Score: C+
Those who criticized Training Day for its lack of credibility will be rolling their eyes at the nonchalance with which Dark Blue plays the race card.
Too many elements of David Ayers' screenplay fall flat, from individual lines to Bobby's sudden change of heart.
While much of the action rings true in Dark Blue, and the events leading up to the riots make for a tense, eerie framework, the movie heads in a disastrous direction ...
| Original Score: .5/4
In the end [Shelton] uses the King riots as window dressing, not commentary or context: The city burns, but nothing's been learned, nothing's been gained, nothing's been said that hasn't been said a hundred times before.
An unoriginal, uninspired good cop/bad cop movie with one-dimensional characters.
(Russell's) hammy performance should come with some bread and cheese. At least we'd get a decent sandwich out of this deal.
| Original Score: D+
In Ron Shelton's new film DARK BLUE, Kurt Russell shines as a latest of bad cops who tries to make right what he consciously knows is wrong in the eyes of the law.
By the time the inevitable comes to pass, the movie has devolved into conventional action-melodrama, complete with bad white cops' sacrifice, redemption, and just punishment.