"Plainclothes" spins the undercover cop trope

In the steamy underbelly of 1990s Syracuse, where cruising spots pulse with forbidden desire and paranoia lurks in every shadow, Carmen Emmi’s “Plainclothes” unfolds like a taut wire ready to snap. As a critic who has followed the evolution of same sex cinema from “Brokeback Mountain” to “Moonlight”—often with a lump in my throat and a notebook filled with notes—I approached this romantic thriller expecting the usual entrapment tropes.

Instead, Emmi offers a heart-pounding twist on themes of identity and betrayal, starring Tom Blyth as Lucas, a fresh-faced undercover cop tasked with luring gay men in mall bathrooms and parks. However, when he locks eyes with Joe (Russell Tovey, smoldering with quiet intensity), a charismatic teacher, the lines between duty and desire blur faster than a stakeout gone wrong.

Set against the backdrop of pre-millennium homophobia, where fears of AIDS and police raids fuel tension, the film draws from real sting operations that traumatized communities. Blyth, embodying a mix of vulnerability and raw ambition, perfectly captures the internal tug-of-war: Is he playing a role, or is he awakening to his true self?

Tovey matches him beat for beat, their chemistry igniting in stolen glances and whispered confessions that feel achingly authentic. Maria Dizzia plays Lucas’s no-nonsense mother, adding layers of familial tension, while Christian Cooke rounds out the ensemble with gritty cop camaraderie. Emmi’s direction is sharp, blending noir-like suspense with intimate drama—imagine “Donnie Brasco” meets “Call Me by Your Name,” but with higher stakes and fewer peaches.

Yet, for all its gripping paranoia, “Plainclothes” occasionally stumbles into predictable territory, particularly with a third-act revelation that feels foreshadowed earlier in the film. While the Syracuse setting is atmospheric with its snowy streets and dingy arcades, it could have delved deeper into the era’s cultural rot; a bit more focus on the Clinton-era “don’t ask, don't tell” climate might have elevated it from solid to exceptional. Still, Emmi adeptly avoids exploitative pitfalls, centering the narrative on the human cost of deception rather than resorting to cheap thrills.

In a year when queer stories are reclaiming the spotlight, “Plainclothes” serves as a bold reminder that love can be the ultimate act of rebellion. It not only exposes the cruelty of entrapment but also celebrates the courage it takes to shed one’s disguise. With captivating performances from Blyth and Tovey, this film is unmissable—be sure to catch it on digital or in theaters.

Final Grade : B +