The utter lack of character insight and depth could be interpreted as a weakness, but at the same time Street King’s bulldozer-like approach keeps it moving at a swift pace, something lacking in so many recent films. Its “surface-only” aesthetic also seems completely deliberate on the part of writer James Ellroy, whose career is steeped equally in contemporary cop lore and the urban mythology of post-WWII Hollywood (L.A. Confidential and The Black Dahlia). Essentially, the film feels like a pulpy late-40s noir made on the cheap...
Read my full review Street Kings online here at The L Magazine.
Notes for the End of the World
1 month ago