A Cop Movie Reviews

If you are old enough to remember the 1960s, you know that a large part of the youth population in America had a low opinion of the police. Once derided as “the heat” or “the fluff,””they have now been called, in some circles, as “pigs.”And this concept Of Address stuck and became a staple in Hip-Hop. See Cypress Hills’ 1991 “Pigs” or the immortal 1989 House of Pain Verse “I’m the cream of the crop, I’m climbing to the top/ I never eat a pig because a pig is a cop…”

It is doubtful that the general public disrespect for police officers has ever been higher than today, with memes like “ACAB”, a widespread feeling against the alleged militarization of police forces and institutional efforts to “undo” police forces and literally reinvent crime prevention methods in the community.

As is the matter at least in the predominantly English-speaking regions of North America, it is at first extremely difficult to analyze the possible Schedule of the new Mexican film “a Cop Movie” directed by Alonso Ruizpalacios. As the Film unfolds and the layers of its production become clearer, we understand that the challenge is the overall goal of the film — up to a point.

“A Cop Movie” begins with unremarkable footage of police cars behind the dashboard, narrated by Teresa, a 34-year-old woman who has worked in the Mexico City police force for 17 years. This Information is repeated several times, again with a purpose. On this Special Patrol, she is forced to help give birth. Because the police station is not fast enough to send a real ambulance to the scene (Teresa tells us that she has never done anything like this), she calls her husband and asks him to call the emergency services as a personal call to get the paramedics out, and that seems to do the trick. A familiar situational irony to be sure. But here, we believe we are seeing a Film that must humanize the police to show the good they are called and capable of. Teresa is clearly neither a pig nor a wrongdoer.

The film has a documentary influence for a while, but we notice fictional elements. There is bassy, jazzy music in the cop show style that accompanies some scenes. Teresa, who actually narrates certain sequences in the police car while they are being recreated, certainly gives advice too. Once the film shifts the perspective to another policeman known as “Montoya”, the stylization becomes almost pretentious, especially in the depiction of the discomfort Montoya experiences during a Gay Pride parade.

While they describe themselves as good policemen and describe the pressures and aspirations that led them to the police — Teresa and Montoya have policemen in their family, and the details of Teresa’s policeman father, who advises them on departmental discrimination, open their eyes when expected – they are both presented calmly accepting bribes from civilians. The rocky life of Montoya before the meeting with Teresa is strongly depicted.

But after the Film breaks the character, and we understand that what we see — what makes Teresa and Montoya work together both in the police and in life and become known as “The Love Patrol” — is a true story represented by actors. The actors themselves talk about their research and secretly enter a police academy for training. Raúl Briones, who plays Montoya, speaks openly about his lack of Sympathy for the police officers and is horrified by the factory conditions in which they go out. After six months, he says cadets “are told they’re ready and get a gun.”

Finally, we see that Ruizpalacios subjected the system to a kind of hardness test in the treatment of this matter. He positions the viewer starting from the humanistic angle. In the Finale, he introduces the real humans behind the characters and comes to a practically mathematical proof: this system is broken and it still breaks humans.

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