Police movies, love them or hate them, are staples in pop culture, and whether the cops are heroes or villains, they all seem to follow the same plot line. “Street Kings” adheres to the formula but manages to be a decent movie all the same.

In the film, LAPD detective Tom Ludlow (Keanu Reeves) is a broken man drinking his life away after the death of his wife. He also happens to be a dirty cop who uses whatever means necessary to solve a case.

The film begins with Ludlow as he kills a house full of criminals, shoots at the doorway to make it look as if it were self-defense and then frees two young girls trapped in a secret cell in the wall. He becomes a local hero but for the wrong reasons.

Ludlow serves under Captain Jack Wander (Forest Whitaker) until his former partner, Terrence Washington (Terry Crews), is killed. Ludlow then dedicates his time to investigating Washington’s murder and those who covered it up. Meanwhile, Captain James Biggs (Hugh Laurie) is busy looking into Ludlow’s record of persistent violence and questionable  policing methods.

Reeves is his usual monotone self as his character throws back drinks and screams to convey his pain over his wife’s murder. Ludlow often goes looking for fights, defying orders and provoking criminals. He clashes with fellow police officers and hounds criminals, generally getting the job done but with grisly results.

The supporting actors are the ones to watch. Whitaker fares better than Reeves. His character, Captain Wander, mangles evidence, defends himself and his squad with rabid eyes and then goes home to his family at night. Even as he spars with fellow officers he retains a level of likability.

Laurie quietly chews up the scenery as the conniving investigator Captain Biggs. He’s a policeman who Ludlow describes as “a cop who burns cops.” He insults Wander when his own morals are questioned and keeps pressuring the LAPD to come clean. Laurie does a great job at making the audience love to hate his character. He’s a weasel, though almost likeable as he digs into every aspect of Ludlow’s infamous career.

At times the movie tries too hard to be gritty. Cursing is as prevalent as gun fighting. Shaky, grainy camera work is the norm, and a good part of the movie is action sequence-style beatings.

Despite these downfalls, the film has a few ironic and funny moments. The banter between the cops at the beginning of the movie as they ponder the validity of shooting a man while taking care of personal business is undoubtedly funny, and at one point Ludlow chases a suspect through a home as a family is watching the finale of “Flavor of Love.”

“Street Kings” is sometimes predictable, and though its ending is more cynical in its view of police morals than the rest of the film, it still manages to entertain.

“Street Kings” was written by James Ellroy and Kurt Wimmer and directed by David Ayer. It received two out of four stars.