Investigators Thomas Cowan and David Fisk are starting an important case, two veterans of the New York Police for thirty years. Both have been trying to find the killing of a pimp who has been involved in a case some time ago.
Imagine this conversation: A phone call between actor Bob De Niro and director Marty Scorsese. Bobby: Hello, Marty. I've been calling and texting, but you never answer. (Silence) Bobby: I'm talking to you. Are you talkin' to me? Are you talkin' to me?
They look like jobbing veteran actors picking up another payday in some routine cop filler, and Avnet's busily clueless direction offers them and the clunky writing little help. Pacino. De Niro. It's over.
The worst about Righteous Kill is that there's probably a perfectly acceptable procedural thriller somewhere in the mountain of cliches and stupidity that riddle the film.
The movie, which has more than 10 credited producers, feels like one of those slick, for-the-money projects Hollywood studios cook up via graph charts and marketing surveys.
Pacino. DeNiro. Armed and dangerous. In a cop drama. In NYC. Together. Written by the writer of Inside Man. Sounds great, doesn't it? Well, what could've gone so wrong?
