On the day that a serial killer that he helped put away is supposed to be executed, a noted forensic psychologist and college professor receives a call informing him that he has 88 minutes left to live.
In 16th century Venice, when a merchant must default on a large loan from an abused Jewish moneylender for a friend with romantic ambitions, the bitterly vengeful creditor demands a gruesome payment instead.
Turk and Rooster, two aging NYPD detectives and longtime partners, are hunting a serial killer who is murdering sociopathic criminals. They both have personal issues, and when they start working with a younger investigative team, Perez and Riley, tensions between the two teams is inevitable, especially since Turk is now living with Perez's ex-girlfriend, also a homicide detective. Written by
In the first movie where Al Pacino and Robert De Niro starred together, The Godfather: Part II (1974), they both played gangsters. In their second movie Heat (1995), Pacino was a cop, and DeNiro was a gangster. In this, their third movie together, they are both cops. This is also the first movie where they have extended interaction. They never shared a scene in The Godfather: Part II (1974) and in Heat (1995) they only had two scenes. See more »
When Turk and Rooster are sitting in Dennehy's office, Turk's left collar is protruding outside of his jacket lapel. On the next close up shot, the collar is back in place. See more »
Like Lennon and McCartney... sure, if not with the best director
Righteous Kill is a kind of prototypical modern cop thriller that has the intonations of a neo-noir mixed in with some iconic figures. The script, in a way, is much better than I might have thought, and the actors- stars Robert De Niro and Al Pacino, in a film technically for the third time and for the first time technically in the frame for more than a few seconds (a pressure obviously from those who whined about their bit at the diner in Heat) as well as the likes of Brian Denehey and Carla Gugino- do their best to make it an entertaining ride. And for all of its recycled elements and plot turns and tough-guy take-no-s*** dialog, it's a fun ride for what it's worth as far as substance goes. You want to see what will happen with these two veteran cop characters as they delve deeper into this killer case (somewhat ripped off from Magnum Force, or something like that in terms of the victims), and what the "twist" will ultimately be.
For those who might think it tired or stiff, I wouldn't put any real blame on the stars, or even Gerwitz's (flawed) screenplay, which does occasionally pull off dark and funny banter and some coarse dialog and action and thrills to the degree that one saw in his Inside Man script. The problem mostly was the direction; Jon Avnet is not a visionary, nor is he a really well-suited neo-noir director. He's just a competent technician (if not veerying close to outright hack) enough to dig up a few potent bits or visual touches, and mostly tries to make the film "hip" and "fresh" and "inventive" with the approach to style in the flashbacks, and he doesn't possibly bypass the pitgalls in Gerwitz's script. What is pleasing, ultimately, about the picture is that it's not bad at all, and is actually a good movie. But with characters played by near generational icons dubbed in the film as "like Lennon and McCartney", this isn't quite up to their previous snuff together. They deserve just a little better with the likes of Godfather 2 and Heat to their previous collaborations.
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