Okay, pull up a chair, maybe grab a slightly dusty beverage from the back of the fridge – we’re digging into a tape that might have surprised a few people back in the day: 1991’s One Good Cop. It’s one of those films that sits right on the cusp – not quite a blockbuster, maybe not a full-blown cult classic, but definitely a title that sparks recognition for those of us who haunted the drama aisles of the local video rental palace. What truly sticks with you after the VCR clicks off isn't necessarily the shootouts, but the weight of the central question it poses: faced with an impossible situation, where does the line blur between upholding the law and protecting the innocent?
A City That Never Sleeps, and a Choice That Never Rests
Written and directed by Heywood Gould, a name perhaps more readily associated with scripts like the slick Cocktail (1988) or the intensely gritty Fort Apache the Bronx (1981), One Good Cop feels like a return to the latter's street-level authenticity. We're thrown into the life of NYPD Detective Artie Lewis, played by Michael Keaton in a role that felt like a deliberate pivot away from the capes and the chaotic spirits he was becoming known for. Artie’s a dedicated cop, deeply devoted to his partner Stevie Diroma (Anthony LaPaglia) and his own loving wife, Rita (Rene Russo).
The film doesn't waste time establishing the stakes. A sudden, brutal act of violence rips Stevie from the picture, leaving behind three young daughters. It’s a moment that lands with genuine shock, setting the stage for Artie and Rita's life-altering decision: to take in the orphaned girls. But raising three children, especially grieving ones, on a detective's salary in early 90s New York? The financial and emotional pressure mounts immediately, pushing Artie towards a moral crossroads that defines the film.
Keaton Steps Out of the Shadows
This film arrived shortly after Keaton donned the cowl in Batman (1989), and it was fascinating to see him channel that intensity into such a grounded, internalised performance. Gone was the manic energy of Beetlejuice (1988); here, Keaton portrays Artie with a simmering blend of grief, frustration, and desperate resolve. You see the weight of the world settling on his shoulders, the calculations happening behind his eyes as he contemplates actions that go against everything he stands for. It's reported that Keaton spent considerable time shadowing real NYPD detectives to prepare, and that authenticity bleeds through – the weariness, the camaraderie (especially in his brief scenes with LaPaglia), and the sudden flashes of protective instinct feel earned. He makes Artie’s dilemma palpable. What does a good man do when the right path seems impossible?
More Than Just a Cop Story
While the plot involves drug dealers and police procedures, One Good Cop resonates most strongly as a domestic drama wrestling with extraordinary circumstances. Rene Russo, in one of her earlier prominent roles before hitting superstardom with films like Lethal Weapon 3 (1992) and In the Line of Fire (1993), is terrific as Rita. She’s not just the supportive wife; she’s grappling with sudden motherhood, financial strain, and the fear of her husband crossing lines he can't uncross. Her chemistry with Keaton feels lived-in and real, providing the film’s essential emotional anchor. And Anthony LaPaglia, though his screen time is limited, makes an indelible impact as Stevie – his warmth and vulnerability make the tragedy hit harder and perfectly justify Artie’s subsequent actions.
Grit, Grief, and the Bottom Line
Heywood Gould shoots New York with a functional, unglamorous eye. This isn't the flashy metropolis of some 80s flicks; it feels like the working city, a backdrop that underscores the financial realities pressing down on Artie and Rita. The film doesn't shy away from the emotional toll of grief, particularly on the children, which adds another layer of complexity to Artie's choices.
Interestingly, despite Keaton's star power, One Good Cop wasn't a major box office success. Made for a reported budget of around $20 million, it pulled in just over $11 million domestically. This might explain why it sometimes feels like a half-forgotten entry in his filmography, overshadowed by his bigger hits. Its mixed critical reception at the time – often praising the performances while sometimes finding the script leaned into melodrama – probably didn't help its theatrical run. But for many of us, its true life began on the VHS shelves. I distinctly remember the cover art promising a standard cop thriller, but discovering something far more somber and ethically knotty inside. It was the kind of movie that might have sparked actual conversations after watching it with friends.
The marketing tagline, "He swore to uphold the law. He swore to protect his family. Now he must choose," perfectly encapsulates the film's central tension. It asks if the "good" in "one good cop" refers to his adherence to the badge or the lengths he'll go to for those he loves. Does the system he serves truly offer justice or protection when faced with such personal devastation?
Final Thoughts on a Heavyweight Tape
One Good Cop isn't a perfect film. The pacing can feel deliberate, and some might argue the plot machinations required to force Artie's hand are a bit convenient. Yet, its strengths lie in its emotional honesty and the compelling central performances, particularly from Keaton. It tackles difficult themes with sincerity, avoiding easy answers. It’s a thoughtful, character-driven drama disguised in cop thriller clothing, a film that sticks with you precisely because of the moral grey areas it explores.
Rating: 7/10
This score reflects the powerful lead performance and the film's genuine emotional core, slightly tempered by some conventional plot elements and occasionally uneven pacing. It’s a solid, affecting drama that deserves to be remembered more often than it is. It leaves you pondering not just Artie’s choice, but what lines any of us might be willing to cross when pushed to the absolute limit for family. A truly decent watch from the shelves of VHS Heaven.