The first sights and sounds to greet us make for an inauspicious start, and my first impression was to reflect "I'm not saying that it's entirely without value or can't be appreciated on its own merits..." I am saying that the song to greet us over the opening credits (and the end credits) is so overwrought that it sounds like a parody of a more earnest ballad. In fairness, elsewhere I quite like Aaron Davis' score, especially in tense moments where it embraces a more discordant slant. Beyond the misogyny suggested in the basic premise, we're also subjected to dialogue filled with tired and unnecessary strains of sexism, transphobia, and ableism, to say nothing of unseemly prejudice against sex workers. Even putting this aside the dialogue is a little questionable, and all over the place; the scene writing and plot development are decidedly brusque; some scenes in and of themselves feel scattered, and inspire a bit of skepticism.
Meanwhile, even with the focus on one particular character, 'Streets' is probably at its best in providing a portrait of, well, life on the streets, and all the trials, tribulations, and varieties of people that come with it (not unlike 1992 drama 'Where the day takes you'). Where the picture centers a thriller narrative it comes off as a tad common, and arguably even contrived - which is strange since the crux of the plot, a beast of a cop who is also a brutal killer, is all too realistic and believable, especially as his coworkers are characterized with the true to life pathos of protecting their own and moreover disbelieving anyone who actually needs help. Plus, in 2022 it seems odd that anyone could possibly be as trusting of police as some of the secondary supporting characters are here, though even if we take the story at face value, these characters are rather lacking of intelligence as written.
Suffice to say that this is a mixed bag in some measure. It's still enjoyable and worthwhile; the bones of the plot are solid, and while the screenplay is troubled otherwise, there are some scenes that are written and executed with fine intelligence. I think the cast are actually quite excellent: Christina Applegate, only 19 at the time, commands the main role with deft skill; it's always a pleasure to see Aron Eisenberg in a film, and Eb Lottimer's portrayal of nasty Lumley is filled with grit, spite, and chewing of scenery. Even those in smaller supporting parts make the most of the time they have on-screen. The production design and art direction are commendable, and those sparing effects we see are done very well. Any stunts, and bursts of action or violence, look really good. Despite any dubiousness, for as emphatically dark and ugly as the core of the feature is, it does manifest a certain grim atmosphere as Lumley pursues his prey, and meaningful suspense. If weakly, this is a film we can get invested in.
More so than not I think this is pretty good. The most substantial weakness is probably the uneven writing, which feeds into a broader issue of 'Streets' not giving us something to wholly latch onto, something that particularly elevates it. At its best it's strong and actively engaging, but that sense of absorption isn't sustained throughout the length. Even at that, however, the movie is suitably well done in other regards to earn a soft recommendation. Unless you're a diehard fan of Applegate or someone else involved you don't necessarily need to go out of your way to see this; on the other hand, if you come across it and aren't looking for The Best Of The Best to fill your time, then it's a decent way to spend 85 minutes. Nothing remarkable at large and imperfect, all the same I admire the hard work and earnestness that went into 'Streets,' and it's duly worthy after all.
