Johnathan White (Channing Tatum) is a second-generation police officer in New York City, a family man who works long hours to provide for his wife (Katie Holmes) and daughter. He’s just been transferred into his father’s old precinct, the same precinct that is now being accused of covering up two homicides that took place in Johnathan’s old neighborhood when he was a boy.
As a series of anonymous letters continues to leak new information to a neighborhood journalist (Juliette Binoche), Johnathan’s commanding officer (Ray Liotta) demands some sort of resolution, which ultimately leads Johnathan to the only other person who knows the truth – his childhood best friend, Vinny (Tracy Morgan).
Through frequent flashbacks, director Dito Montiel slowly reveals Johnathan’s own involvement in the events surrounding the homicides, as well as his connection to a well-respected police captain (Al Pacino) who may have been involved with the conspiracy. We see two young men trying their best to cope with the harsh reality of their environment, and the tragic circumstances that shaped the men they would eventually become.
Montiel manages to coax an impressive performance out of Tatum, who conveys more range and emotion in this 90-minute film than he does in all of his previous work combined. Morgan, likewise, is surprisingly effective as the mentally damaged Vinny, forever haunted by the sins of his youth, and Pacino is remarkably subtle and restrained, particularly in his scenes with the adolescent version of Tatum’s character.
Unfortunately, a collection of great performances does not always result in a great film. The entire narrative is built around a premise that strains the limits of credulity, resulting in plenty of decisions that make little to no sense, and an implausible, unsatisfying conclusion. All of the right ingredients are here, they’re just not mixed in the right configuration.
FINAL SCORE: 7/10