Metacritic reviews

Fuqua's portrait of Brooklyn is brutal and gritty; if only his characters were as vivid.

Mr. Gere is miscast as Eddie, too naturally regal in bearing to be the screw-up he’s supposed to be, and for a broken man, he still moves with the same confidence as his younger self did in "An Officer and a Gentleman."

It’s more like "Hamlet" -- the ending, at least, with enough blood and corpses to fill a housing project. The only thing missing is a point, which Fuqua circles for two hours without landing.

Ellen Barkin provides unexpected diversion in a madwoman cameo as the PD's brassiest brass. But otherwise the clichés keep coming.

In the end, audiences will be neither shaken nor stirred. Just bored and confused.

Here, due in large measure to a highly derivative screenplay, the director allows several reckless, unprofessional cops drive the movie into utter nonsense.

Filled with every cop-movie convention since the invention of gunpowder and curse words, Brooklyn's Finest is three movies in one, all of which you've seen before.

Antoine Fuqua’s second-rate retread of his own "Training Day" is a bloated, multithread drama concerning three burnt-out cops at the end of their seemingly unconnected ropes.

Fuqua tries to create the illusion of meaning by copycatting the style and techniques of better directors, but he can't save the naked emperor of the script.

A crowded cast of some of the finest actors in the cinema act the hell out of a gimmicky, episodic, hit-or-miss script in Brooklyn’s Finest, Antoine Fuqua’s latest attempt to relive the glories of "Training Day."