Misplaced Pages

#3996

79-485: Training Day is a 2001 American crime thriller film directed by Antoine Fuqua and written by David Ayer . It stars Denzel Washington as Alonzo Harris and Ethan Hawke as Jake Hoyt, two LAPD narcotics officers followed over a 24-hour period in the gang-ridden neighborhoods of Westlake , Echo Park , and South Central Los Angeles . It also features Scott Glenn , Eva Mendes , Cliff Curtis , Dr. Dre , Snoop Dogg , and Macy Gray in supporting roles. Training Day

158-455: A 13-episode run as a mid-season replacement . Filming for the first season had been completed in December 2016, so the run was not affected by Paxton's death on February 25, 2017, two days after the fourth episode aired. The lowest rated drama series on CBS that season, it was canceled on May 17, 2017, the same week the season finale aired. In October 2019, it was reported that Warner Bros.

237-416: A Hollywood feature went from $ 20,000 in 1914 to $ 300,000 in 1924. Silver and Ursini stated that the earliest crime features were by Austrian émigré director Josef von Sternberg whose films like Underworld (1927) eliminated most of the causes for criminal behavior and focused on the criminal perpetrators themselves which would anticipate the popular gangster films of the 1930s. The groundwork for

316-478: A broader category called "film type", mystery and suspense as "macro-genres", and film noir as a "screenwriter's pathway" explaining that these categories are additive rather than exclusionary. Chinatown would be an example of a film that is a drama (film type) crime film (super-genre) that is also a noir (pathway) mystery (macro-genre). The definition of what constitutes a crime film is not straightforward. Criminologist Nicole Hahn Rafter in her book Shots in

395-505: A change signaled by films like Chinatown (1974) and The Wild Bunch (1969) noting that older genres were being transformed through cultivation of nostalgia and a critique of the myths cultivated by their respective genres. Todd found that this found its way into crime films of the 1980s with films that could be labeled as post-modern , in which he felt that "genres blur, pastiche prevails, and once-fixed ideals, such as time and meaning, are subverted and destabilized". This would apply to

474-575: A conservative era. For crime films, this led to various reactions, including political films that critiqued official policies and citizen's political apathy. These included films like Missing (1982), Silkwood (1983), and No Way Out (1987). Prison films and courtroom dramas would also be politically charged with films like Kiss of the Spider Woman (1985) and Cry Freedom (1987). While films about serial killers existed in earlier films such as M (1931) and Peeping Tom (1960),

553-454: A crooked shell" and portrayed gangsters who showcased the "romantic mystique of the doomed criminal." The 1940s formed an ambivalence toward the criminal heroes. Leitch suggested that this shift was from the decline in high-profile organized crime, partly because of the repeal of Prohibition in 1933 and partly because of the well-publicized success of the FBI. Unlike the crime films of the 1930s,

632-484: A film described as "crime/ action " or an "action/crime" or other hybrids was "only a semantic exercise" as both genres are important in the construction phase of the narrative. Mark Bould in A Companion to Film Noir stated that categorization of multiple generic genre labels was common in film reviews and rarely concerned with succinct descriptions that evoke elements of the film's form, content and make no claims beyond on how these elements combine. Leitch, stated that

711-409: A great actor in this taut and brutal police drama." Metacritic , which uses a weighted average , assigned the film a score of 71 out of 100, based on 36 critics, indicating "generally favorable" reviews. Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale. Chicago Sun-Times film critic Roger Ebert said: "Washington seems to enjoy a performance that's over

790-491: A locker of the Hollywood Athletic Club. The Asphalt Jungle (1950) consolidated a tendency to define criminal subculture as a mirror of American culture. The cycle of caper films were foreshadowed by films like The Killers (1946) and Criss Cross (1949) to later examples like The Killing (1956) and Odds Against Tomorrow (1959). Leitch wrote that these films used the planning and action of

869-684: A mobster known as The Snapper Kid. Regeneration (1915) was an early feature-length film about a gangster who saved from a life of crime by a social worker. These two early films and films like Tod Browning 's Outside the Law (1920) that deal with the world of criminal activity were described by Silver and Ursini as being gangsters "constrained by a strong moral code". Stuart Kaminsky in American Film Genres (1974) stated that prior to Little Caesar (1931), gangster characters were in films were essentially romances . European films of

SECTION 10

#1732783208004

948-406: A pair of addicts attempting to rape Letty, a teenage girl in an alley. Jake intervenes while Alonzo watches him get attacked and fight the rapists. After Letty leaves, Alonzo menaces the rapists, but declines to arrest them and Jake collects Letty's wallet from the ground. Later, Alonzo and Jake apprehend a dealer named Blue, who has crack rocks - revealed when Alonzo makes Blue vomit by sticking

1027-430: A pen down his throat, which fazes Jake - and a loaded handgun in his possession. Rather than go to jail, Blue informs on his employer Kevin "Sandman" Miller, who is in prison. Using a fake search warrant , Alonzo steals $ 40,000 from Sandman's home. At lunch, the two visit Alonzo's mistress Sara and their young son. Alonzo then meets with a trio of corrupt high-ranking police officials he dubs the "Three Wise Men". Aware that

1106-535: A psychopathic personality." Drew Todd in Shots in the Mirror: Crime Films and Society described the character as different than films featuring rebellious characters from the 1940s and 1950s, with a character whose anger is directed against the state, mixed with fantasies of vigilante justice. Films like Dirty Harry , The French Connection and Straw Dogs (1971) that presented a violent vigilante as

1185-470: A remake of The Defiant Ones (1958). The cycle generally slowed down by the mid 1970s. Prison films closely followed the formulas of films of the past while having an increased level of profanity, violence and sex. Cool Hand Luke (1967) inaugurated the revival and was followed into the 1970s with films like Papillon (1973), Midnight Express (1978) and Escape from Alcatraz (1979). When Ronald Reagan became president in 1980, he ushered in

1264-413: A robbery todramatize the "irreducible unreasonableness of life." The themes of existential despair made the these film popular with European filmmakers, who would make their own heist films like Rififi (1955) and Il bidone (1955). Filmmakers of the coming French New Wave movement would expand on these crime films into complex mixtures of nostalgia and critique with later pictures like Elevator to

1343-420: A savior. By the mid-1970s, a traditional lead with good looks, brawn and bravery was replaced with characters who Todd described as a "pathological outcast, embittered and impulsively violent." Hollywood productions began courting films produced and marketed by white Americans for the purpose of trying to attract a new audience with blaxploitation film. These films were almost exclusively crime films following

1422-402: Is a style of crime film that originated from two cinematic precursors: the gangster film and the gentleman thief film. The essential element in these films is the plot concentration on the commission of a single crime of great monetary significance, at least on the surface level. The narratives in these films focus on the heist being wrapped up in the execution of the crime more or at as much as

1501-463: Is beaten and dragged to the bathroom to be executed. Moreno searches Jake for money and finds the wallet of Letty, who happens to be Smiley's cousin. After calling Letty and confirming that Jake saved her, Smiley releases Jake out of gratitude. An infuriated Jake returns to Sara's apartment to arrest Alonzo before he leaves to pay the Russians with Roger's money. A gunfight and chase ensue, and Alonzo

1580-423: Is different just as crime are different than horror, science fiction and period drama films. Rafter also suggested that Westerns could be considered crime films, but that this perception would only be "muddying conceptual waters." The history of the crime film before 1940 follows reflected the changing social attitudes toward crime and criminals. In the first twenty years of the 20th Century, American society

1659-404: Is eventually subdued on the street while the entire neighborhood gathers to watch. Alonzo offers money to whoever kills Jake – to no avail. Jake takes the stolen cash to submit as evidence against Alonzo and the neighborhood gang allows him to leave safely. An enraged Alonzo, realizing his plan has been foiled, unravels into a final desperate tantrum and threatens retaliation against

SECTION 20

#1732783208004

1738-640: The British Board of Film Censors or conveyed mostly through narration. Box-office receipts began to grow stronger towards the late 1960s. Hollywood's demise of the Hays Code standards would allow for further violent, risqué and gory films. As college students at the University of Berkeley and University of Columbia demonstrated against racial injustice and the Vietnam, Hollywood generally ignored

1817-503: The Federal Bureau of Investigation (FBI) in 1935), promoted bigger budgets and wider press for his organization and himself through a well-publicized crusade against such real world gangsters as Machine Gun Kelly , Pretty Boy Floyd and John Dillinger . Hoover's fictionalized exploits were glorified in future films such as G Men (1935). Through the 1930s, American films view of criminals were predominantly glamorized, but as

1896-786: The Imperial Courts housing project , the first time L.A. street gangs had allowed a film crew to be brought into that neighborhood. The crew also filmed in Hoover Block and Baldwin Village . Parts of the film were shot on a dead end street called Palmwood Drive, where the Black P. Stones Blood gang members were seen on the rooftops. Cle Shaheed Sloan , the gang technical advisor of Training Day , managed to get on screen real-life gang members from Rollin' 60 Crips , PJ Watts Crips , and B. P. Stones (a Bloods set). According to Fuqua,

1975-479: The Russian mafia is hunting Alonzo, they suggest he skip town. Alonzo insists he has control of the situation and trades the $ 40,000 for an arrest warrant . Alonzo assembles his squad of narcotics officers, and with Jake in tow they return to Roger's house and use the warrant to seize $ 4 million, a quarter of which Alonzo keeps and shares with his squad. Jake refuses to take a share of the money, worrying Alonzo and

2054-1045: The Western film as they lack both the instantly recognizable or the unique intent of other genres such as parody films. Leitch and Rafter both write that it would be impractical to call every film in which a crime produces the central dramatic situation a crime film. Leitch gave an example that most Westerns from The Great Train Robbery (1903) to Unforgiven (1992) often have narratives about crime and punishment, but are not generally described as crime films. Films with crime-and-punishment themes like Winchester 73 (1950) and Rancho Notorious (1952) are classified as Westerns rather than crime films because their setting takes precedence over their story. Alain Silver and James Ursini argued in A Companion to Crime Fiction (2020) that "unquestionably most Western films are crime films" but that that their overriding generic identification

2133-495: The gangster film as both a genre on its own terms and a subgenre of the crime film. In these films, the gangster and their values have been imbedded through decades of reiteration and revision, generally with a masculine style where an elaboration on a codes of behavior by acts of decisive violence are central concerns. The archetypal gangster film was the Hollywood production Little Caesar (1931). A moral panic followed

2212-612: The 1940s films were based more on fictional tales with gangsters played by Paul Muni in Angel on My Shoulder (1946) and Cagney in White Heat (1949) were self-consciously anachronistic. Filmmakers from this period were fleeing Europe due to the rise of Nazism. These directors such as Fritz Lang , Robert Siodmak , and Billy Wilder would make crime films in the late 1930s and 1940s that were later described as film noir by French critics. Several films from 1944 like The Woman in

2291-689: The 1980s had an emphasis on the serial nature of their crimes with a larger number of films focusing on the repetitive nature of some murders. While many of these films were teen-oriented pictures, they also included films like Dressed to Kill (1980) and Henry: Portrait of a Serial Killer (1986) and continued into the 2000s with films like Seven (1995), Kiss the Girls (1997), and American Psycho (2000). In an article by John G. Cawelti titled " Chinatown and Generic Transformations in Recent American Films" (1979), Cawleti noticed

2370-652: The 1990s with films like Wild at Heart (1990). Quentin Tarantino would continue this trend in the 1990s with films where violence and crime is treated lightly such as Reservoir Dogs (1992), Pulp Fiction (1994) and Natural Born Killers (1994) while Lynch and the Coens would continue with Fargo (1996) and Lost Highway (1997). Other directors such as Martin Scorsese and Sidney Lumet would continue to more traditional crime films Goodfellas , Prince of

2449-558: The African American counterpart to Gregory Peck (in his To Kill a Mockingbird period), as an LAPD cop so evil he makes Harvey Keitel 's Bad Lieutenant look like even smaller potatoes than he was meant to be". In June 2003, the American Film Institute named Alonzo Harris the 50th greatest screen villain of all time in its list AFI's 100 Years...100 Heroes & Villains . On August 7, 2015, it

Training Day - Misplaced Pages Continue

2528-498: The American crime film which began rejecting linear storytelling and distinctions between right and wrong with works from directors like Brian de Palma with Dressed to Kill and Scarface and works from The Coen Brothers and David Lynch whose had Todd described as having "stylized yet gritty and dryly humorous pictures evoking dream states" with films like Blood Simple (1984) and Blue Velvet (1986) and would continue into

2607-522: The City (1980), Q & A (1990), and Casino (1995). Other trends of the 1990s extended boundaries of crime films, ranging from main characters who were female or minorities with films like Thelma and Louise (1991), Swoon (1991), Devil in a Blue Dress (1995), Bound (1996) and Dolores Claiborne (1996). Every genre is a subgenre of a wider genre from whose contexts its own conventions take their meaning, it makes sense to think of

2686-794: The Gallows (1958), Breathless (1960) and Shoot the Piano Player (1960). Following the classical noir period of 1940 to 1958, a return to the violence of the two previous decades. By 1960, film was losing popularity to television as the mass form of media entertainment. Despite To The crime film countered this by providing material no acceptable for television, first with a higher level of onscreen violence. Films like Psycho (1960) and Black Sunday (1960) marked an increase in onscreen violence in film. Prior to these films, violence and gorier scenes were cut in Hammer film productions by

2765-660: The Mirror: Crime Films and Society (2006) found that film scholars had a traditional reluctance to examine the topic of crime films in their entirety due to complex nature of the topic. Carlos Clarens in his book Crime Movies (1980), described the crime film as a symbolic representation of criminals, law, and society. Clarens continued that they describe what is culturally and morally abnormal and differ from thriller films which he wrote as being more concerned with psychological and private situations. Thomas Schatz in Hollywood Genres: Formulas, Filmmaking, and

2844-516: The Studio System (1981) does not refer to the concept of crime film as a genre, and says that "such seemingly similar "urban crime" formulas" such as the gangster film and detective film were their own unique forms. Thomas Leitch, author of Crime Films (2004) stated that the crime film presents their defining subject as a crime culture that normalizes a place where crime is both shockingly disruptive and completely normal. Rafter suggested

2923-493: The Three Wise Men scene, thinking it slowed the film. He insisted that the scene was pivotal in establishing that at least some of Alonzo's illegal actions were sanctioned by his superiors who regarded unethical behavior as a necessary evil. Fuqua wanted Training Day to look as authentic as possible, and he shot on location in some of the most infamous neighborhoods of Los Angeles. He even obtained permission to shoot in

3002-571: The Top 10 at the box office. It went on to gross $ 76.6   million in the United States and Canada, and $ 28.2   million in other territories, for a worldwide total of $ 104.9   million, against a budget of $ 45   million. On the review aggregator website Rotten Tomatoes , 74% of 170 critics' reviews are positive. The website's consensus reads: "The ending may be less than satisfying, but Denzel Washington reminds us why he's such

3081-461: The Window , Laura , Murder, My Sweet and Double Indemnity ushered in this film cycle. These works continued into the mid-1950s. A reaction to film noir came with films with a more semi-documentary approach pioneered by the thriller The House on 92nd Street (1945). This led to crime films taking a more realistic approach like Kiss of Death (1947) and The Naked City (1948). By

3160-596: The actors and crew ended up receiving a warm welcome from local residents. When he was unable to shoot a scene directly on location, he recreated the locations on sets. There were also two police officers on hand as technical advisors , Michael Patterson and Paul Lozada (the latter from the San Francisco Police Department ). Washington, Hawke and other cast members also met with undercover police officers, local drug dealers, and gang members to help understand their roles better. Davis Guggenheim

3239-486: The best way to skirt complexities of various films that may be defined as crime films as works that focus primarily on crime and its consequences, and that they should be viewed as a category that encompasses a number genres, ranging from caper films , detective films, gangster films, cop and prison films and courtroom dramas. She said that like drama and romance film, they are umbrella terms that cover several smaller more coherent groups. The criminal acts in every film in

Training Day - Misplaced Pages Continue

3318-601: The box office. The success of the film and its sequel The Godfather Part II (1974) reinforced the stature of the gangster film genre, which continued into the 1990s with films Scarface (1983), Once Upon a Time in America (1984), The Untouchables (1987), Goodfellas (1990) and Donnie Brasco (1997). Dirty Harry (1971) create a new form of police film, where Clint Eastwood 's performance as Inspector Callahan which critic Pauline Kael described as an "emotionless hero, who lives and kills as affectlessly as

3397-431: The character of Jimmy "Popeye" Doyle who Leitch described as a "tireless, brutal, vicious and indifferent" in terms of constraints of the law and his commanding officers. The film won several Academy Awards and was successful in the box office. This was followed in critical and commercial success of The Godfather (1972) which also won a Best Picture Academy Award and performed even better than The French Connection in

3476-429: The continual breakdown and re-establishment of borders among criminals, crime solvers and victims, concluding that "this paradox is at the heart of all crime films." Rafter echoed these statements, saying crime films should be defined on the basis of their relationship with society. Leitch writes that crime films reinforce popular social beliefs of their audience, such as the road to hell is paved with good intentions ,

3555-412: The crime film was following changing attitudes towards the law and the social order that criminals metaphorically reflect while most film were also no more explicitly violent or explicitly sexual than those of 1934. White Heat (1949) inaugurated a cycle of crime films that would deal with the omnipresent danger of the nuclear bomb with its theme of when being threatened with technological nightmares,

3634-554: The criminal psychology and are characterized by and emphasis on the crime unfolding often though montage and extended sequences. The genre is sometimes used interchangeable with the term "caper". The term was used for the more dramatic films of the 1950s, while in the 1960s, it had stronger elements of romantic comedy with more playful elements as seen in films like The Thomas Crown Affair (1968) and Topkapi (1964). Leitch described combining genres as problematic. Screenwriter and academic Jule Selbo expanded on this, describing

3713-434: The day by catching some college kids buying marijuana . Alonzo confiscates the drugs, puts them into a pipe and tells Jake to smoke it. When Jake refuses, Alonzo threatens him at gunpoint, stating that such a refusal while on the streets would get him killed. Jake smokes the pipe and gets very high. Alonzo laughs, disclosing that it was laced with PCP . After paying a visit to Roger, an ex-cop turned drug dealer, Jake notices

3792-680: The decade ended, the attitudes Hollywood productions had towards fictional criminals grew less straightforward and more conflicted. In 1935, Humphrey Bogart played Duke Mantee in The Petrified Forest (1936), a role Leitch described as the "first of Hollywood's overtly metaphorical gangsters." Bogart would appear in films in the later thirties: Angels with Dirty Faces (1938) and The Roaring Twenties (1939). Unlike actor James Cagney , whose appeal as described by Leitch "direct, physical, and extroverted", Bogart characters and acting suggested "depths of worldly disillusionment beneath

3871-640: The drug test in exchange for his cooperation and Jake begrudgingly complies. Later that evening, Alonzo drives Jake to the home of a Sureño gangster named Smiley for an errand. As he waits for Alonzo, Jake reluctantly plays poker with Smiley and his fellow gang members, Sniper and Moreno. Smiley then explains Alonzo's situation: by midnight, Alonzo must pay $ 1 million to the Russians for killing one of their men over an insult in Las Vegas or be killed himself. Additionally, Smiley reveals Alonzo has abandoned Jake and paid Smiley to kill him. Jake attempts to flee but

3950-534: The emergence of the Rampart Scandal in the late 1990s catalyzed the completion of the film. Denzel Washington also grew a beard in order to emulate the appearance of Rafael Pérez , an LAPD narcotics officer involved in multiple scandals. Fuqua wanted Washington's character to be seductive and part of a machine, and not just a random rogue cop. In Washington's own words: "I think in some ways he's done his job too well. He's learned how to manipulate, how to push

4029-401: The end of the decade, American critics such as Parker Tyler and Robert Warshow regarded Hollywood itself as a stage for repressed American cultural anxieties following World War II. This can be seen in films such as Brute Force , a prison film where the prison is an existential social metaphor for a what Leitch described as a "meaningless, tragically unjust round of activities." By 1950,

SECTION 50

#1732783208004

4108-602: The film , produced by Jerry Bruckheimer , was announced in August 2015 and premiered on February 2, 2017, on CBS . Only Noel Gugliemi , Tom Berenger and Raymond J. Barry reprised their roles. The show was cancelled after one season. Jake Hoyt, an ambitious LAPD police officer, is assigned to work with Detective Alonzo Harris, a highly decorated narcotics officer, for a one-day evaluation ahead of Hoyt's anticipated promotion. Driving around in Alonzo's Monte Carlo , they begin

4187-473: The film a positive review, stating: "Denzel Washington ventures into the dark side as a seriously corrupt narcotics cop... and the results are electrifying. So is the picture, thanks to taut, sinewy direction by Antoine Fuqua and a compelling script by David Ayer." Denzel Washington's performance as Detective Alonzo Harris was highly praised by critics. In The Village Voice , Amy Taubin wrote that his "old-fashioned combination of decency and sexiness suggests

4266-528: The film. Tobey Maguire , Paul Walker , Freddie Prinze Jr. , Ryan Phillippe , and Scott Speedman all auditioned for the role of Hoyt. A soundtrack to the film was released on September 11, 2001, by Priority Records . It peaked at 35 on the Billboard 200 and 19 on the Top R&;B/Hip-Hop Albums and spawned two hit singles, Nelly 's " #1 " and Dr. Dre and DJ Quik 's "Put It on Me". Training Day

4345-536: The gangster films of the early 1930s were influenced by the early 1920s when cheap wood-pulp paper stocks led to an explosion in mass-market publishing. Newspapers would make folk heroes of bootleggers like Al Capone , while pulp magazines like Black Mask (1920) helped support more highbrow magazines such as The Smart Set which published stories of hard-edged detetives like Carroll John Daly 's Race Williams. The early wave of gangster films borrowed liberally from stories for early Hollywood productions that defined

4424-412: The genre represents a larger critique of either social or institutional order from the perspective of a character or from the film's narrative at large. The films also depend on the audience ambivalence towards crime. Master criminals are portrayed as immoral but glamourous while maverick police officers break the law to capture criminals. Leitch defined this as a critical to the film as the films are about

4503-566: The genre with films like Little Caesar (1931), The Public Enemy (1931), and Scarface (1932). In comparison to much earlier films of the silent era, Leitch described the 1930s cycle as turning "the bighearted crook silent films had considered ripe for redemption into a remorseless killer." Hollywood Studio heads were under such constant pressure from public-interest groups to tone down their portrayal of professional criminals that as early as 1931. Jack L. Warner announced that Warner Bros. would stop producing such films. Scarface itself

4582-526: The growing rage against the establishment spilled into portrayal police themselves with films like Bullitt (1968) about a police officer caught between mob killers and ruthless politicians while In the Heat of the Night (1967) which called for racial equality and became the first crime film to win an Academy Award for Best Picture . The French Connection (1971) dispensed Bullitt ' s noble hero for

4661-445: The law is above individuals, and that crime does not pay. The genre also generally has endings that confirm the moral absolutes that an innocent victim, a menacing criminal, and detective and their own morals that inspire them by questioning their heroic or pathetic status, their moral authority of the justice system, or by presenting innocent characters who seem guilty and vice-versa. Crime films includes all films that focus on any of

4740-413: The line further and further, and, in the process, he's become more hard-core than some of the guys he's chasing." Fuqua also saw Ethan Hawke's character as generally honorable but so driven by ambition that he was willing to compromise his principles, particularly when following the charming and persuasive example of Washington's character. He has said that he fought with studio executives who wanted to cut

4819-498: The main gangster Jody Jarrett fights fire with fire. These themes extended into two other major crime films by bring the issues down from global to the subcultural level: The Big Heat (1953) and Kiss Me Deadly (1955) which use apocalyptical imagery to indicate danger with the first film which the film persistently links to images of catastrophically uncontrolled power and the "traumatic consequences" of nuclear holocaust and Kiss Me Deadly literally features an atom bomb waiting in

SECTION 60

#1732783208004

4898-571: The neighborhood, but, knowing he no longer holds any sway over them, the residents ignore Alonzo and walk away during his rant. Alonzo flees for the Los Angeles International Airport , but is ambushed and gunned down by the Russians. Jake returns home as the press reports on Alonzo's death. Although corruption in the LAPD's C.R.A.S.H. unit was yet to be exposed when Training Day was written, Antoine Fuqua has stated that

4977-405: The only or first gangster film following the fall of the production code, The Godfather (1972) was the most popular and launched a major revival of the style. The film followed the themes of the genres past while adding new emphasis on the intricate world of the mafia and its scale and seriousness that established new parameters for the genre. The heist film, also known as the "big caper" film

5056-513: The other officers. Alonzo executes Roger after Jake refuses his order to do so, staging the scene with his men to make the shooting look justified. Infuriated, Jake gets into a standoff with the corrupt officers. Alonzo reveals he orchestrated the day's events to have leverage over Jake and threatens him with the police department's post-incident blood test, which will catch the PCP Jake smoked and end his career. Alonzo promises to protect Jake from

5135-434: The release of the early gangster films following Little Caesar , which led to the 1935 Production Code Administration in 1935 ending its first major cycle. As early as 1939, the traditional gangster was already a nostalgic figure as seen in films like The Roaring Twenties (1939). American productions about career criminals became possible through the relaxation of the code in the 1950s and its abolition in 1966. While not

5214-578: The series, which is set 15 years after the original film. In May 2016, CBS picked up the series. In the CBS television series Alonzo is mentioned by Deputy Chief Joy Lockhart when briefing Officer Kyle Craig on sending him undercover at LAPD's Special Investigation Section to investigate Detective Frank Roarke. Frank briefly mentions Alonzo at the end of the first season. The series, starring Bill Paxton and Justin Cornwell , premiered on February 2, 2017, with

5293-536: The silent era differed radically from the Hollywood productions, reflecting the post-World War I continental culture. Drew Todd wrote that with this, Europeans tended to create darker stories and the audiences of these films were readier to accept these narratives. Several European silent films go much further in exploring the mystique of the criminal figures. These followed the success in France of Louis Feuillade 's film serial Fantômas (1913). The average budget for

5372-410: The success of Shaft (1971) which led to studios rushing to follow it's popularity with films like Super Fly (1972), Black Caesar (1973), Coffy (1973) and The Black Godfather (1974) The films were often derivations of earlier films such as Cool Breeze (1972), a remake of The Asphalt Jungle , Hit Man (1972) a remake of Get Carter (1971), and Black Mama, White Mama (1973)

5451-407: The three parties to a crime: criminal, victims, and avengers and explores what one party's relation to the other two. This allows the crime film to encompass films as wide as Wall Street (1987); caper films like The Asphalt Jungle (1950); and prison films ranging from Brute Force (1947) to The Shawshank Redemption (1994). Crime films are not definable by their mise-en-scene such as

5530-553: The top and down the other side". Ebert gave the film three out of four stars, praising both the lead and supporting actors and the film's gritty, kinetic energy. He criticized the plot's implausibility, but praised its execution, stating: "Ayer's screenplay is ingenious in the way it plants clues and pays them off in unexpected ways, so that 'Training Day' makes as much sense as movies like this usually can." Writing in The Hollywood Reporter , Michael Rechtshaffen gave

5609-450: The war in narratives, with exceptions of film like The Green Berets (1968). The crime film Bonnie and Clyde (1967) revived the gangster film genre and captured the antiestablishment tone and set new standards for onscreen violence in film with its themes of demonizing American institution to attack the moral injustice of draft. This increase of violence was reflected in other crime films such as Point Blank (1967). Leitch found

5688-514: Was announced that Antoine Fuqua had decided to develop a television series based on the movie , and had teamed with Jerry Bruckheimer to develop the concept. Warner Bros. Television was shopping the show to the American broadcast networks. Will Beall would write the series, while Fuqua would serve as executive producer, and would direct the potential pilot. CBS ordered a pilot on August 14, 2015. In addition to Fuqua, Bruckheimer, Beall, and Jonathan Littman will serve as executive producers for

5767-532: Was delayed for over a year as its director Howard Hughes talked with the Motion Picture Producers and Distributors of America 's Production Code Office over the films violence and overtones of incest. A new wave of crime films that began in 1934 were made that had law enforcers as glamourous and as charismatic as the criminals. J. Edgar Hoover , director the Bureau of Investigation (renamed

5846-1022: Was developing a prequel to Training Day . The prequel follows a young Alonzo Harris in late April 1992, two days before the verdict of the Rodney King trial and the associated L.A. riots . The prequel, named Training Day: Day of the Riot , was set to start production in California in February 2022, but as of November 2024, the film appears to be still in development. Crime thriller film Screenwriter and scholar Eric R. Williams identified crime film as one of eleven super-genres in his Screenwriters Taxonomy , claiming that all feature-length narrative films can be classified by these super-genres.  The other ten super-genres are action, fantasy, horror, romance, science fiction, slice of life, sports, thriller, war and western. Williams identifies drama in

5925-461: Was originally attached to direct the film, with Matt Damon as Jake Hoyt and Samuel L. Jackson as Alonzo Harris. Once Washington became attached to the project, however, he requested to have Guggenheim replaced with Fuqua. Eminem was offered the role of Hoyt, but turned it down in order to focus on preparing for 8 Mile (2002). If he had appeared, he would've shared scenes with his mentor Dr. Dre as well as Snoop Dogg , both of whom do appear in

6004-466: Was originally scheduled for release on September 21, 2001, and had a strong advertising push. However, following the September 11 attacks , the film was pushed back to October 5, 2001, replacing Collateral Damage ' s original release date. Training Day was initially released on DVD and VHS on March 19, 2002. A Blu-ray version was initially released on August 1, 2006. A 4K Blu-ray version

6083-465: Was released on February 28, 2023. Training Day opened at number one, grossing $ 22.5   million, ahead of fellow new release Serendipity in second place. Upon opening, it achieved the second-highest October opening weekend, behind Meet the Parents . It repeated in the top spot in its second weekend, above that week's new release of Bandits in second place, and spent its first six weeks in

6162-505: Was released on October 5, 2001, by Warner Bros. Pictures . It received generally positive reviews from critics, who praised Washington and Hawke's performances but were divided on the screenplay. The film received numerous accolades and nominations with Washington's performance earning him the Academy Award for Best Actor and Hawke being nominated for Best Supporting Actor at the 74th Academy Awards . A television series based on

6241-400: Was under intense social reform with cities rapidly expanding and leading to social unrest and street crime rising and some people forming criminal gangs. In this early silent film period, criminals were more prominent on film screens than enforcers of the law. Among these early films from the period is D.W. Griffith 's The Musketeers of Pig Alley (1912) involving a young woman hounded by

#3996