Mantegna is his old solid self as the obsessive Rhinehart, but Reeve is much too bland as Kane, and Edward Kerr is completely unconvincing as Kane's younger brother Nick. In theory, all of this could work fine, but in reality, Above Suspicion is barely above average, for a number of reasons.įirst, it lacks the emotional intensity with which Stanwyck and MacMurray infuse Double Indemnity. In Above Suspicion, the plot sickens as Kane, depressed by his career-ending injury, takes out the policy himself and tries to convince his wife and brother to collect on it. In that film, Barbara Stanwyck and Fred MacMurray bump off Stanwyck's husband to collect on the insurance policy MacMurray sold them. The two of them might well have gone on forever agreeing to disagree were it not for two things: Kane's discovery that his younger brother, Nick, is entertaining his otherwise-perfect wife with something other than family anecdotes, and a drug raid in which Kane is disabled, paralyzed from the waist down.Īt this point, Above Suspicion, which begins as a fairly typical detective film and evolves briefly into an action-adventure flick, suddenly turns itself into a kind of inside-out version of the 1944 classic Double Indemnity.

Reeve stars as Kane, who's not only the perfect cop, but the perfect dad and perfect husband, while Mantegna does his usual brooding turn as Alan Rhinehart, an intuitive investigator who lacks formal training and a life, but whose hunches are eerily on target. Or so we're led to believe in Above Suspicion, a 1995 cops-and-more-cops film starring Christopher Reeve and Joe Mantegna as two police investigators whose very different methods lead them to very different conclusions. For 15 years, Dempsey Kane has been the perfect cop.

Christopher reeve above suspicion 1995