His last words are about children. This theme recurs and is more revealing than a mere quirk such as Allan Ladd's affection for a cat in "This Gun For Hire. And what is Annabella Sciorra, as his wife, doing so far down on the list of credits, with her memorable Mediterranean beauty? Nancy Travis turns in a nicely tempered performance as well. Her physical appeal beneath that fright wig is real but quirky, a bit like Susan Clark's.
And if her skirts were any shorter and tighter she could run for President of the United States. I admired Andy Garcia as the Internal Affairs investigator.
He has the brooding intensity of Brando or Poitier but here doesn't have the chance to display much range. Still, the script humanizes him. He registers not simply as "the good guy" but as a violently over-possessive husband. In other words, the writers have given the "bad guy" some familiar virtues and the "good guy" some weaknesses common to men. Laurie Metcalf's lesbian partner isn't given an opportunity to show more than one dimension but her character provides a stolid and humorless prop.
The supporting players are uniformly fine. There are several scenes of slow motion violence and death which have now become as commonplace as they are pointless. The last "meaningful" slow-motion deaths, in the sense that they served a dramatic as well as simply visual purpose, may have been in Pekinpah's "The Wild Bunch. The cops and other innocent victims in "Bonnie and Clyde" get shot at ordinary speed and almost always at a distance, so we don't have to feel as sorry for the bourgeoisie as we do for the rebels who are torn apart in a slow-motion fusillade.
It may have all started with Kurosawa's "The Seven Samurai" back in the early 50s, in which slow death followed almost imperceptibly quick swordplay. Kurosawa should get the credit for the original use of this technique, but not the blame for slow motion's subsequently being imposed on scenes of killing, of fistfights, of bodies and cars crashing through plate glass windows, of bodies and objects plummeting from office buildings and bridges and horses and -- well, you get the picture.
The indiscriminate use of the technique is an insult to viewers. It's as if the director and his cronies thought of us as five-year olds, howling and clapping gleefully as sparkling shards of breakaway glass fill the air.
Tweekums 21 May Avilla's first case involves Peck's partner Van Stretch, a man accused of planting drugs on a suspect After a run in with Peck, Avilla has a feeling that he may be dirty too, the more he hears the more convinced he is but he will need far more evidence if he is to go up against the force's poster boy.
With plenty of evidence against Stretch he offers him a deal if he will name other dirty cops. He says no but later tells his wife he is going to take the deal; a mistake since she was with Peck at the time. Peck arranges for Stretch to be killed; there is still no evidence against him though. As the investigation continues Peck starts to goad Avilla, insinuating that he has slept with his wife The closer the investigation gets to Peck the more dangerous it gets for Avilla and his partner as Peck is owed favours by a lot of people.
This was a fine thriller; Richard Gere did a fine job playing against type as the corrupt cop Peck; the more we got to know the character the more evil he seemed; playing opposite him Andy Garcia is as good playing honest cop Avilla; a character who could self destruct if he continues to let Peck get under his skin.
Director Mike Figgis did a fine job keeping things tense throughout the film; I also liked how some questions remained unanswered; notably whether or not a key character would survive after being seriously wounded. I'd certainly recommend this film to fans of Gere and Garcia as well as to anybody who likes a decent crime thriller. Director Mike Figgis plugs this otherwise-routine cop thriller with a palpably sweaty charge; he skillfully works the audience up in a fever over material that is pretty standard.
Andy Garcia and Laurie Metcalf, working together for the Internal Affairs division on the Los Angeles police force, attempt to nab psychotic cop Richard Gere, who has been leaving a trail of dead bodies throughout the city.
Still worth a look, however, and the three leads are exceptional. Peck is a master manipulator, a devious bastard who has his fingers in so many mud pies he could start his own bakery. Gere is on fire with the role, imbuing Peck with a menacing nastiness that's a constant throughout the entire play. Once Figgis and Bean have laid the character foundations, the plot turns into a psychological battle of wills and skills between Peck and Raymond Avila Garcia , with Peck always one step ahead because he knows where Avila's weakness is.
Figgis slow burns the tension with great aplomb, then unleashes the beasts for the thriller aspects of Bean's screenplay. The look and feel of the piece is that of doom, deftly positing Peck's vileness within a city awash with crooks, hookers and hit men for hire. Scarecrow 4 August Right before Pretty Woman , Gere played smarmy, womanizing, multi-divorced, prick LA street cop, Dennis Peck, taking money from the likes of pimps and drug-dealers in order to provide for his four wives and nine!
Peck likes to spread the seed around. Avilla wants Peck and hopes to get Van to turn on him. Peck not only takes money for prostitution and drugs but also negotiates executions, as is the case with a businessman's parents! Peck isn't about to not only take money and arrange gangbangers to execute the businessman's parents but feels free to bang the guy's wife as well!
When Peck realizes the threat to his livelihood, he makes it a mission to torment Avilla, provoking his jealousy in regards to a wife a smokin' Nancy Travis; I'm telling you, Travis has never been this foxy! Considering the possible notoriety behind the scenes between Gere and Garcia's inability to get along, their time on screen benefits significantly from the intensity, animosity, and hostility shared between the two characters, Peck and Avilla.
Gere fires on all cylinders in this performance, full of swagger and aggression, with a character that would easily dupe you into believing he's on your side, while all the while setting up your execution. Seemingly no conscience except when with his children or compassion exists in this man, and Peck has built enough bad juju for punishment to visit upon him with violent and swift justice. I like how the film establishes that Avilla's obsessions like getting a cop associated with Peck, Dorian Michael Beach , on Homicide are turning him into Peck.
There's a really volatile scene where Avilla confronts his wife in a restaurant about her possible involvement with Peck that registers off-the-charts; Avilla even smacks her upside the jaw, dropping panties, stolen by Peck from her room, at her face! Where Internal Affairs feels conventional is in the partner getting hurt and the wife being threatened by the villain.
The inevitable showdown doesn't quite match the earlier macho exchanges, eliciting plenty of fireworks, between the opposing cops. Gere dominates his scenes—every last one of them—while Garcia can stare down those associates of Avilla with a moral compass blazing a trail from his eyes that leaves them really uncomfortable and on edge a great example is the wife of Van, played by Faye Grant, who has a disdain for the IA but cannot look Avilla in the eyes; she had been screwing around with Peck behind Van's back.
Annabella Sciorra has limited involvement in the film as Peck's newest wife, eventually helping Avilla take down her sleazy husband it was either her children or Peck, with few options available to her, as Avilla forces her hand. Baldwin's demise thanks to Gere is hard to watch because it is coming and Van doesn't have a clue he's about to take a shotgun blast to the chest.
Not quite dying, Peck assists with a choke hold strangling the remaining life from him. This, along with the discovery of the parents under the giant Hollywood sign, just illustrates fully how evil he really is. He, at the end, uses his children's welfare as an excuse for all of his activities; Gere's whole purpose is to make us despise his character and in that he succeeds. Richard Gere shines in what was, at the time, a change-of-pace villainous role. Dennis Peck is a thoroughly crooked cop, who is also able to present to the world a picture-perfect image that has some people fooled.
Raymond becomes obsessed with bringing Dennis to justice, much to the detriment of his relationship with his wife Kathleen Nancy Travis. By contrast, Raymond is nowhere near as interesting. Although one doesn't necessarily root for Dennis, it's hard to care a lot about Raymond's obsession: Garcia, sometimes going over the top as he tends to do, plays a man who's hot-headed and quick to assume the worst.
One may actually regret seeing his wife stand by him, judging by his actions in a gallery. The picture is overlong, but compelling in its ridiculous, overheated way. Dennis is such a cheerfully corrupt pile of slime that he amuses endlessly. One could see how people would fall victim to his machinations, especially when he's such a master of manipulation. He's often provoking Raymond, and Raymond keeps taking the bait.
The score director Mike Figgis is also one of the composers, and appears on screen as the character Hollander is pretty good, and the strong supporting cast features a LOT of familiar faces. Laurie Metcalf is a standout as Raymond's partner, although Travis is very appealing and very sexy. But Gere is the main reason to watch. He's clearly having fun playing a seductive, charming kind of evil.
He really should be playing villains more often. Seven out of LeonLouisRicci 23 November CinemaSerf 3 January This provides the audience with quite a different role from the otherwise good looking romantic hero type characters usually associated with Richard Gere.
In this film, he portrays "Dennis Peck", an outwardly upstanding police officer who is about as dodgy as they come underneath. When Andy Garcia is brought in to investigate goings on at his precinct, he quickly concludes that Gere's partner - the aptly named "Van Stretch" William Baldwin is a bit of a no good wife beater, and soon he and Gere are at loggerheads. The screenplay doesn't pull it's punches - this is an out and out depiction of domestic violence, thuggery and police corruption; and not just of one rogue officer, but of an internecine network that stretches far and wide.
Gere is just OK - to be honest. He never was my favourite actor and playing the bad guy by the odd vaguely menacing glance whilst lobbing in the odd f-word didn't go anywhere near enough to remove that gentle goody-goody image.
The only hair-raising thing Andy Garcia seemed likely to have ever done would have involved a heck of a lot of gel, and the whole thing has a certain professionalism about the production that neutralised, effectively, anything gritty or sordid about their behaviour.
I watched it because it is freezing cold, and it was on the telly - but I'm not sure that age has helped it much, and I think maybe I won't bother again. Absorbing thriller with Garcia and partner Metcalf as internal affairs cops investigating scumball cop Gere and his penchant for violence and sex.
Effective Gere and some fun to watch mano a mano scenes with Garcia with some dangerous results. Lame ending. AlsExGal 19 September This is a weird one with so many preposterous premises that it could almost be a strange kind of fantasy if it was not for all of the mental and physical cruelty going on.
In that way, it reminds me of a film from the year before - - called "Blue Steel". As ridiculous as the plot is, you can see the end, and about everything in between, coming at you a mile away. Avilla also suspects Stretch's partner, Dennis Peck Richard Gere , since he finds it hard to believe that Stretch's partner would be blind to his illegal activity.
He also believes that Stretch does not have the intelligence or the independence to be pulling off all of the drug dealing on his own. Peck is supporting several ex-wives, his current pregnant wife, and eight children - on a policeman's salary?. He's also sleeping with just about every woman that becomes his target of opportunity, including his own partner's wife. However, this film attributes this more to her sexual orientation than to the possibility that she might actually have standards.
Also, Peck is so involved in so many blatant dirty dealings that Frank Drebbin of Police Squad would have had to be chief of Internal Affairs to not notice what's been going on up to this point, especially given Peck's high rolling lifestyle and his harem.
Peck is a politician extraordinaire, and his picture should be next to the phrase "quid pro quo" in the dictionary. This has kept him out of the line of fire of the other regular cops on the force. Whenever Peck calls in a favor, his cop friends don't seem to mind that the favors often involve felonies. Peck is also ultra-psychotic and murders his so-called best friend and partner, the unfortunate officer Stretch, to keep him from talking to internal affairs and exposing Peck's comfy criminal arrangements.
I have to wonder why such a good actor as Richard Gere would have taken on such a two-dimensional role as Dennis Peck. Peck seems to have taken on the profession of rogue cop more because he enjoys performing acts of violence, murder, and mayhem than the reason that he gives in the film - that he would do anything to support his kids. What does shooting Laurie Metcalf's character with a smile on his face have to do with supporting his kids?
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Super Reviewer. Rate this movie Oof, that was Rotten. What did you think of the movie? Step 2 of 2 How did you buy your ticket? She then lied to IA and said that Danny told her to lie because they were having an affair. Eventually, Lindsay pressured the rookie to admit she was scared and lied about telling Danny to lie.
Stella's had four run-ins as well, getting called out twice for excessive force. Three of the incidents occurred prior to the series premiere. One storyline has them coming very close to polygraphing two agents because they're suspicious correctly of their account of the shooting of a suspect.
FBI-focused White Collar had a recurring villain in the first two seasons in OPR Agent Fowler who turned out to be a case of Lawman Gone Bad : his wife was killed and then he killed her assassin, leaving himself open to blackmail by the big bad.
Criminal Minds uses elements of this trope when FBI higher-ups investigate Hotchner's conduct when his ex-wife and son were pursued by an elusive serial killer. Subverted in that, while the head investigator and Hotchner's boss, Erin Strauss is dogged in her questioning and rubs all of Hotch's teammates the wrong way, she turns sympathetic when Hotchner himself relates how his ex-wife had been killed and he'd beaten her murderer to death to save their little boy.
The cops uncover her identity and are severely annoyed. Detective Larue also had a few run-ins with them whenever his drinking problem or his Cowboy Cop tendencies got the better of him; one story arc involved him getting dropped in the ordure with IA by a supposedly undercover Narcotics officer who'd offered him a bundle of twenties to go away and not blow his cover.
Not surprisingly, the drug squad cop turned out to be dirty. Some manage to contribute, most are unhelpful, and some end up being revealed as actually working for corrupt, if not terrorist, interests. On the other hand, the main characters will occasionally take it upon themselves to play this role if their case leads to a police officer as a suspect. Season 1's "Poison Ivy" begins with a police shooting, which in a subversion is initially cleared by Internal Affairs. Greevy and a reluctant Logan aren't so sure, and do their own investigating.
Perplexingly, Cragen's indignation at Internal Affairs' position that beating up the guy poses a clear violation of even the kidnapper's human rights is presented as being the unquestionably morally righteous position. The episode even ended on a "those two dead people's rights"-style quote.
And then there was the case where IA attempted to "disappear" several girls to cover up an anthrax threat. They were only returned after the timely intervention of Olivia and a plucky reporter who exposed their acts to the public. Pretty much one particular IA agent will jump at any accusation to Elliot Stabler no matter how obvious that said accusation is fake such as a boy claiming he was molested by him to get the charges dropped to a husband having his wife beat him up so they can claim that Elliot was the one that did it and no matter what he will fully believe the other side until solid evidences is shown they are lying.
Later episodes in the series play with this a little bit more, giving IA officer Tucker who comes to largely represent IA as a whole on SVU chances to show that he's not inhuman.
In one episode, he is said to have actually apologized for jumping the gun, though this doesn't keep him from making the same mistake later on. Subsequent episodes show him being tough but also fair, making sure the detectives are on the level but not trying to railroad them in the same way.
He eventually forms a friendship with Olivia despite their past differences, and for a brief time, they become more than friends. The episode "Internal Affairs" is one that takes this to another level. Much to Cragen's shock, Tucker requests help from both Cassidy and SVU in investigating a corrupt precinct where some of the officers were alleged to be raping women while on patrol.
Tucker's dedication to the case is sincere, but he also puts Cassidy at risk without adequate warning, which doesn't endear him to the unit. At one point he refers to his two-year assignment to IA being almost up, and the following week, what do you know, he's transferred to Homicide and replaced Martin's character. The Series averted this trope in that while IA were not portrayed as particularly competent, the detectives had no love or loyalty to dirty cops.
Wheeler is nervous, while Logan who is a Cowboy Cop with one very thick discipline file tells her not to worry. Homicide: Life on the Street : IA Detective Gharty is portrayed as very sympathetic, and none of the cops have a problem turning in killer cops. Kellerman's persecution in Season Five is mostly bad luck and the cold treatment Gharty received is based more on apparent cowardice on his part. In Chicago P. Given that he has to report to them, it makes for an interesting situation.
While Voight is implied to have been dirty in the past, and may still be slightly dirty, both of the ones he deals with are total dicks, and slightly corrupt themselves. The second is a straight up murderer. Characters of this nature often appear on the various Star Trek series. The most prominent example was in the Star Trek: Deep Space Nine episode "Trials and Tribble-ations," where a department known as "Temporal Investigations" scrutinizes Captain Sisko over having traveled through time.
These guys soften up at the end and are generally just doing their job, but, as even well-intentioned changes to the timeline can be catastrophic, they need to be hard on everyone. They also lament when Captain Kirk is brought up, who's traveled through time way too often for their tastes.
In "Inquisition", Bashir goes through a very harsh investigation from I. Iit turns out that Sloan is actually an agent for Section 31 , and once he determines that Bashir is innocent of wrongdoing, he decides to recruit Bashir, and he doesn't take "No" for an answer. Life On Mars : It is revealed that Sam Tyler is an undercover cop assigned to Gene Hunt's unit to expose his corruption and rule-breaking so that he could be replaced with a more progressive superior — except he lost his memory and ended up going native.
Of course, it's probably All Just a Dream anyway. And in Ashes to Ashes , we have the sinister Jim Keats who is determined to bring Gene's shady past to light. Who is literally the Devil. Dexter The first season has Angel torn over reporting to Internal Affairs over an incident regarding Doakes apparently opening fire on a man unprovoked, fearing that the rest of the department will regard him as a rat, as well as being Doakes' friend and initially trying to get the truth of the matter from him.
He does end up providing an incriminating report, but the case is thrown out due to intercession on the basis of national security Doakes' victim was a former death squad member who he knew from his black ops days. Doakes doesn't end up holding it against him, and threatens a cop who insults Angel. The third season has a wildly inept internal affairs officer who is investigating a very mildly corrupt cop, but goes about it in a terrible way.
She approaches his partner and asks for her help, gives no reasoning, and assumes she has the partner's assistance and continues harassing the partner. It also turns out she may have an ulterior motive for pursuing the cop they used to be partners, with another cop who got killed due to a drug addiction which may have been preventable. They're sometimes right, but most of the time the IOA as a whole is treated as a bunch of Obstructive Bureaucrats. The most important plot-wise of them is Woolsey, who starts as one of SG-1's detractors, while raising quite a few valid objections like "Shouldn't we consider stopping the project that nearly caused the destruction of our planet on various occasions?
There's been plenty of run-ins between the detectives of Cold Case and IA, but the most blatant has to be in season 5, where an ongoing arc has one of the detectives feeling major heat from them over whether or not his shooting a suspect during a hostage situation the previous season was by the book.
IA was using it to screw him over for a previous mistake. In Flashpoint , every time an officer takes a lethal shot, they have to talk to the Special Investigations Unit. While the officers tend to view it as a nuisance, the investigators are said to be generally fair and just there to make sure everything's above board. The one exception occurs in "Acceptable Risk" because the IA officer has a preexisting grudge against Parker, and even she eventually admits she was wrong.
She's initially reluctant to believe that an LAPD officer could be responsible and is somewhat insensitive to the victims, at one point sending a uniformed officer to transport a victim and completely missing the point when Megan calls her on it.
Ultimately, she redeems herself and helps them catch the rapist. The show also subverted it with Lt. Jon Kavanaugh. Beginning as a straight, if extremely unconventional, IAD officer, he metamorphosed into a Cowboy Cop himself, with a stop at Large Ham along the way.
Dragnet : One episode of the short-lived revival had Joe Friday the subject of an Internal Affairs hearing, with the events told in flashback. In this case though, IAD had a legitimate concern, and Sgt. Friday was honest and non-confrontational. Furthermore, the IAD's investigation is as thorough and professional as Friday's always are and they find the evidence that his actions were completely justified under the circumstances. But then, Joe Friday is the polar opposite of the Cowboy Cop.
The above example harkens back to "The Shooting Board", a Dragnet episode. Friday walks in on an attempted robbery at a self-service laundromat and exchanges gunfire with the thief, wounding him. Things turn bad, though, when the thief turns up dead, the slug from his gun isn't found, there are no independent witnesses, and his accomplice lies that Friday fired the only shot. Throughout, Friday is tense and worried, but isn't hostile towards the IAB officers or the review board, both of whom are sympathetic but professional.
In the end, the IAB detectives find the missing slug, leading to a memorable epilogue: Friday, himself, on camera as the narrator reveals the result "Sgt. Joe Friday: Returned to Duty". There was also the episode in the s version where Friday and Gannon were the Internal Affairs: they were investigating the shooting of a liquor store clerk where the chief suspect was a rookie undercover narcotics officer Kent Mccord, pre- Adam , who had been picked out of a line-up by an eyewitness.
In another episode, Friday is picked as a defender by a cop accused of taking a bribe from a bookie. He said it was because he knew Friday would pull out the stops to defend him if he really was innocent. Friday agreed, but contended he made a lousy lawyer because he'd want the guy convicted if he was guilty. Ultimately, the guy is found guilty of a couple of the charges, but not all of them. In the episode "I. Neither side can produce a receipt for the personal effects the officers took into evidence, including the money.
Friday and Gannon, again, are sympathetic but professional. In the end, Friday finds the officers' missing copy of the receipt it had been misplaced in their car , plus traces of the associate's copy, proving that she, herself, stole the money and tried to frame the officers. Adam got into it as well, in an episode where Reed and Malloy exchange fire with a sniper at a residence. Reed has to be investigated and his actions checked out to ensure that he was justified in firing his weapon and shooting the suspect.
Reed is stressed, but ultimately, his actions were found justified. Then there was a Dragnet episode that crossed over when Friday and Gannon were investigating a claim that a patrolman struck someone who was drunk and verbally abusive.
Reed and Malloy were the other unit that responded, and were interviewed. Everyone involved is given a chance to explain, and in the end the patrolman is suspended for overreacting.
The Australian 's Phoenix had the Major Crimes Squad constantly butting heads with the Victorian Police internal affairs unit, nicknamed the 'toecutters' after a notorious Melbourne gang which tortured people by cutting their toes off. Unsurprising as this Ripped from the Headlines series was made at a time when the Victorian police were catching a lot of flack for their methods, especially police shootings explored particularly in the Law Procedural spin-off Janus.
Ironically, Jock Brennan, who led the Major Crimes investigation in the first season, returns as an internal affairs investigator later on, showing not the least bit of sympathy for his former colleagues. Subverted in Motive , Sqt. Saunders, an IA detective brought in to do a bullshit hatchet job on Vega is visibly furious at having his department misused in political games and quickly proves to be a Reasonable Authority Figure who helps out the Homicide Department in several future episodes.
The Wire : The show featured one of the more cynical takes on the role of IID, particularly in the first season. It's got nothing to do with making sure Daniels and his team were following the law; it was purely about making sure they are following Burrell's orders. IID gets used cynically again later in the show. Herc who is white causes problems for Tommy Carcetti newly elected white mayor in a largely black city when Herc use excessive force and humiliates a black preacher he arrested on false information Bubbles gave him.
If Carcetti caves to the deacons who want Herc gone over this, he looks weak, and like someone who can be pushed around. If he doesn't, then he's a white man who doesn't care when a white cop pushes a pillar of the black community around. Burrell proves he's just as capable of playing political games by having IID come down on Herc for other reasons unconnected to the preacher incident , allowing the black community to be satisfied that Herc got canned without making Carcetti look weak.
Against the Wall is about a police officer who just joined IA, with the full belief that she can protect innocent police officers. Her family full of cops practically disown her after this.
JAG : In the season five episode "Contemptuous Words", Harm is suspected of having written an unsigned op-ed piece in newspaper denigrating the then-president Bill Clinton , and internal affairs are brought in. Commander Rabb : OIG?
Admiral, they land a crooked JAG, their budget goes up. Brenda : When police officers get shot, they're investigated by me. When they shoot back, they're investigated by you. That means they will think twice before defending themselves. That hesitation means more good cops will die. I have to ask - have you ever considered what your principles cost?
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