James Mangold has yet to top his 1997 film Cop Land – this film is just incredible from start to finish. Taking on the thematic ambitions of a classic Western while tipping its cap in the direction of neo-noir policier, this hugely entertaining and densely woven portrait of city wide law enforcement corruption ranks as one of the most underrated films of its decade, or any decade, for that matter. Sylvester Stallone’s deeply wounded, vulnerable, and ultimately heroic performance easily stands as one of his finest accomplishments as a performer, as he was able to rely on his endlessly fascinating face which holds the potential to bolster a film’s story more than words ever could. Playing a partially deaf New Jersey sheriff in a town populated mostly by big-city, law-bending NYC cops, he’s constantly at odds with numerous members of his community, who feel that the regular laws don’t apply to them when off the clock. How he interacts with the various members of the force is a study in posturing and a reminder of how generous Stallone can be as an actor when working with others.
The plot involves an unintended murder, a shady cover-up, disappearances, more murders, lots of overall mystery, and a sense off righteous bloodshed with an escalating sense of tension that ramps up all the way until the explosive finale. The cast is absurd. To wit: Robert De Niro, Harvey Keitel, Ray Liotta, Robert Patrick, Peter Berg, Annabella Sciorra, Cathy Moriarty, Paul Calderon, Michael Rappaport, Janeane, Garofalo, Noah Emmerich, John Spencer, Frank Vincent, Arthur J. Nascarella, John Ventimiglia, Edie Falco, Tony Sirico, Bruce Altman, Method Man, Robert John Burke, Victor Williams, and tons of “faces” that all add up to the one of the most impressive ensembles ever corralled for a major motion picture; casting agent Todd Thaler was working overtime! Eric Edwards’ unfussy cinematography was stylish at all times without ever once calling attention to itself, utilizing slow-motion in smart fashion, while Craig McKay‘s perfectly timed editing ratcheted up the anxiety that almost every single character faced during the course of the emotionally and physically violent narrative (Mangold wrote the script as well).
Cop Land feels volatile and dangerous at all times, and it was sensational to see Stallone underplay his sad-sack character to such a degree that when he gets his chance to lash out, the moment feels all the more cathartic because of how reserved he had previously been. Howard Shore’s music seals the deal while Mangold brings it all together at the finish. At the time of its release, the film was met with solid critical notices, and it managed a respectable $45 million gross, but I always questioned the mid-August release date (this was an October or November movie all the way) and I think that expectations within Miramax may have been outside of what should have been anticipated, as this is a dark, serious film with grave consequences for most of the characters. Mangold reinstated close to 15 minutes of footage for his eventual director’s cut. And after countless revisits, it’s been made clear to me that this film is a true diamond in the rough, one of those efforts that while respected, never truly got its due credit.
Podcasting Them Softly 