Cop Land: Critic Reviews

Mangold certainly knew what he was doing when he cast Keitel and De Niro.

Whatever its limitations, Cop Land has talent to burn.

The film is probably best taken as an ultimately slight but still compelling Eastern that plays like a vintage Western about personal redemption.

At its heart, the movie has a good story to tell: the lumbering oaf who's not nearly as stupid and not nearly as gutless as all the hot dogs from the big city think.

The movie's no roller-coaster ride, but there isn't a boring moment either.

Although too simplistic in its good-guys/bad-guys approach to morally and emotionally ambiguous material, Cop Land emerges as an absorbing and dramatic yarn about exposing the evil doings of some of New York's finest.

This is a good filmthat could have been great if not for an act of well-intentioned, but misguided casting.

Cop Land shares its leading man's slow-wittedness, but also his likability.

A compelling, if imperfect, motion picture.

A solidly entertaining drama that stays true to the independent spirit of its filmmakers

Nearly down for the count in the movie ring, Stallone isn't just back in the fight. He's a winner.

A good effort, but the star power on show throws the proceedings off kilter somewhat, hiking up an expectation that the film ultimately cannot live up to.

A low-key tale of corrupt cops that recalls the gritty police procedurals of the 70s.

It's pretty funny, actually, that Stallone gained 40 pounds to play this role, and what the movie needs more than anything else is to eat a salad and do some sit-ups.

Mangold is something of a pseudo-Scorsese.

It sizzles toward an explosive and satisfying climax in which everything -- Stallone included -- fully bursts into life.

At times, it's like three episodes of NYPD Blue jammed together and whittled down to feature length.

Mangold went to so much trouble to give Stallone a good role, but he forgot to write good parts for Robert De Niro, Harvey Keitel, Ray Liotta, Annabella Sciorra and Cathy Moriarity.

The mystery suspense elements, however, grind from implausibility (the set-up), to cliche (the climax), with too much back story in between.

It's an interesting parable/western and, perhaps, a start for Stallone's new career.

In the early '70s, people made movies like Cop Land all the time; Stallone is a reason they don't make them so often anymore. Maybethis is his way of making it up to us.

Rocky Balboa meets Donnie Brasco.

Stallone more than holds his own against an all-star ensemble cast; indeed, he soundly anchors the picture.

Generally successful.

No drama, suspense or excitement in this dud.