Metacritic reviews

"Kings" covers familiar territory but does so with ruthless efficiency, intense performances and a densely packed plot designed to highlight the moral issues that most concern Ayer and Ellroy.

A brutal look at police corruption that allows director David Ayer and "L.A. Confidential" author James Ellroy to pool their deeply cynical insights.

It’s easy to laugh at Street Kings for its bigger than big emotions, its preposterously kinky narrative turns and overwrought jawing and yowling, but there’s no doubt that it also keeps you watching, really watching, all the way to the end.

Despite the predictability of the overall story arc, there's suspense and tension to be found between the credit sequences, but the movie is saddled with an ending that is both improbable and borderline insulting.

Every so often, Keanu Reeves' robo-voiced blankness serves him well, but when he has to play a pulpy, tormented demon-saint, scraping up insults and spitting them out like bullets, he's like the host of an infomercial doing an impersonation of a badass.

After all the actorly fireworks, Street Kings concludes that the LAPD is an institution where even the well-intentioned can't work clean. Okay. What else?

Ayer's grim police thriller mostly plays as one long dick-measuring competition. You sense that an infinitely more complex drama exists within the film's grasp, but no one bothered to stop guzzling the testosterone long enough to find it.

I enjoyed parts of Street Kings but I didn’t believe one thing about it, and I couldn’t get past Reeves’ unsuitability to his role. He may someday play a cop on the edge convincingly, but the edge needs to be sharper than this.

There's something cynical about Ayer's attempt to preserve Ludlow as a hero after scene upon scene meant to show, with heavy irony, how lawlessly he enforced the law. You can't lionize your "Dirty Harry" vigilante and expose his hypocrisy, too.

All the movie's treacheries, deceptions and story twists are marred by our lack of innocence. We see the big picture way before the characters do, and that pushes us right out of the movie and back into our seats -- the last place we want to be.