Serpico review

 Number 521 on the top 1000 films of all time is the 1973 crime-drama Serpico.

Based on a true story, Serpico tells the tale of real-life NYPD Frank Serpico (Al Pacino) and his struggles to expose corruption in the police department.

Serpico certainly isn't the first whistleblowing film Al Pacino would star in. He also appeared in the 1997 film The Insider where he plays a TV producer helping to expose corruption in the tobacco industry. Whereas the Insider was slow-paced with not much happening, Serpico was far more interesting.

We are thrust straight into the action along with Al Pacino as we see him being rushed into hospital after being shot in the head. Who shot him? We don't know. Maybe one of his corrupt colleagues who he tried exposing. Yet it remains obvious that Serpico is the only straight cop in a severely bent cop stop.

He soon comes to odds with his fellow police as he refuses to take bribes or follow the crooked rules of his colleagues. Serpico goes onto embrace the countercultural attitudes of the time further alienating himself form the other coppers especially high command who are as bent as the rest.

As always Al Pacino was impressive. He was great as the dark and brooding Frank Serpico. The seventies was definitely a great decade for Pacino. He starred in the Godfather films, Dog Day Afternoon and Serpico.

Due to my previous experience with whistle-blowing films, I was not expecting to enjoy Serpico. I'm glad to say I was wrong.

Beverly Hills Cop review

 Number 996 on the top 1000 films of all time is the buddy cop action drama 'Beverly Hills Cop.'

Axel Foley (Eddie Murphy) is a street-smart Detroit cop whose childhood best friend is mysteriously killed. Aiming to uncover the mystery, Foley travels to Beverly Hills where he comes up against formidable art gallery owner Victor Maitland (Steven Berkoff.)

Eddie Murphy was a great comedy actor. He really carried this film and made it something more than your average buddy cop film. He easily displayed his versatility through his physical and verbal comedy. Axel Foley was a likeable and charismatic protagonist. A smart-talking cop is hardly a new trope, but Murphy kept the role nice and fresh. This was a fun and a light-hearted watch.

But Eddie Murphy wasn't the only actor in this, as the rest of the cast were also great. While in Beverly Hills, he receives help from police detective Billy (Judge Reinhold) and police sergeant John Taggart (John Ashton.) These two actors worked well together helping to provide a lot of the film's humour, but also a lot of heart. Initially, they begin as adversaries of Axel, with instructions from their superiors to keep him out of the way, but eventually they become allies. Both of them receive strict dressing-downs from their lieutenant, but this doesn't stop them from doing the right thing.

And Steven Berkoff as the villainous Victor Maitland also shone. He was very convincing as the villain. As I guess would be the standard of the buddy cop films of the time, this was definitely a bit of a boy's film. Consequently some of the female characters like Jenny (Lisa Eilbacher) - another old friend of Axel's - felt very short-changed.

Finally, we have to mention the film's brilliant soundtrack. Populated with the best of eighties music, it deservingly won the Grammy for best score. Of course, it also featured the Axel F song itself which went onto become one of the most annoyingly catchy songs of the 2000's.

This film appears very far down on the list. It was definitely good for what it was - a heartfelt, but very funny buddy cop drama with a great score, but I can understand why it was so low-placed. Beverly Hills Cop might have laid the groundwork, but I think it's been surpassed by many other films.

End of Watch review

 Number 633 on the top 1000 films of all time is the crime drama 'End of Watch.'

Brian Taylor (Jake Gyllenhaal) and Mike Zavala (Michael Pena) are best friends and LAPD officers. Shot documentary style, the film follows their relationship as they stumble upon a massive drug-running and people trafficking organisation and soon become targets of the Sinaloa Cartel.

Since starting this challenge, I've watched my fair share of cop dramas from Crash to Training Day. And they're often felt unrealistic. Either they've been over-the-top or too understated. But End of Watch had a lovely authenticity flowing through it. Part of that was down to its cinematography.

As previously stated, this was shot as a documentary. This is worked into the story. Brian is doing a film class and so he's filming all his police work on a hand-held camcorder. What he misses is picked up by dashcam and bodycam footage. Some critics maligned this as being unnecessary and confusing. Yes, at times, especially during the gunfights, it did become chaotic. But that's exactly what it would be like in real life. And the camera work adds another layer of realism. It shows these cops at their most relaxed, there is no fake facade or veneer. These are your police, like them or not. 

Rather than being unnecessary, it made everything feel so much more real. What I will concede is that it was strange seeing the Mexican gangbangers film themselves with camcorders too. Surely, they're smart enough to realise that they're incriminating themselves. This didn't make any sense.

Another reason End of Watch felt so real was because of the chemistry of the two leads - Gyllenhaal and Pena. Reportedly, the two didn't connect at first, but over time they became good friends. And this came across in the final project. A lot of the banter between them was completely improvised making their relationship all the more genuine. You got a real sense of the camaraderie that exists within the police force.

If there was anything I didn't like, it was the ending. *Spoiler alert* The cartel tracks down Taylor and Zavala - shooting both of them. Taylor survives and Zavala doesn't.  It would have been better if this was the other way around. Taylor is reckless and impulsive, often dragging his friend into danger - he's the one who initially incurs the cartel's wrath. It would make sense that his rashness would get him killed. But then again, it's all too common for the more rational characters like Zavala to die because of the impulsiveness of people like Taylor.

Granted, the film is a little cheesy in places - I could have done without Taylor's opening monologue, where he espouses about what it means to be a police officer. However, I do think that this type of cultural identity definitely exists within the LAPD.

This is a gritty police drama that neither exaggerates what being a police officer is like nor does it romanticise it. Rather it creates an authentic reality that lets the viewer make up their own mind.