It's oft remarked that a policeman's lot is not a happy one - but Vincent LaMarca (De Niro) seems to make misery an art.

Fleeing from a broken marriage and an abused wife, he left behind his little boy in Long Beach - the City By The Sea - and ran away to New York.

Not satisfied with a messy divorce, Vince also has to put up with the crippling memory that his father killed a baby in a failed kidnap attempt.

If that wasn't bad enough, the dad he worshipped went to the electric chair for his crime and now Vince leads a lonely life as a homicide detective.

The only way he can put the past behind him is by locking it away and revealing his history of failure to no-one.

His warm relationship with cop partner Reg (Dzundza) ends at the precinct door and he won't let his girlfriend Michelle (McDormand) into his confidence.

When it seems things couldn't get any bleaker, Vince's son Joey (Franco) turns out to be the prime suspect in a murder probe.

Give us a break, you may be thinking - and you'd be right.

As the various components of this incredible premise build up, the sheer weight of plot crushes all the life out of some half-decent performances.

Based on an article by Esquire writer Mike McAlary, Scottish director Caton-Jones seems to have piled on more emotional baggage rather than strip down the narrative to the basics.

The result is a course of events which borders, I'm afraid, on the laughable - a shame as the first half-hour promises much.

De Niro is reliable as ever - despite the increasing amount of ham sandwiched in his dialogue - while McDormand only hints at what a versatile actress she is.

At the end of the day, the old adage holds true - less is more and overload is what scuppers this potentially gripping yarn.

Tim Evans