1950’s Los Angeles is the seedy backdrop for this intricate noir-ish tale of police corruption and Hollywood sleaze. Three very different cops are all after the truth, each in their own style: Ed Exley, the golden boy of the police force, willing to do almost anything to get ahead, except sell out; Bud White, ready to break the rules to seek justice, but barely able to keep his raging violence under control; and Jack Vincennes, always looking for celebrity and a quick buck until his conscience drives him to join Exley and White down the one-way path to find the truth behind the dark world of L.A. crime. –IMDb
Curtis Lee Hanson (born March 24, 1945) is an American film director, film producer and screenwriter. His directing work includes The Hand That Rocks the Cradle (1992), L.A. Confidential (1997), Wonder Boys (2000), 8 Mile (2002), and In Her Shoes (2005).
Hanson was born in Reno, Nevada and grew up in Los Angeles, the son of Beverly June, a real estate agent, and Wilbur Hale “Bill” Hanson, a teacher. Hanson dropped out of high school, finding work as a freelance photographer and editor for Cinema magazine.
In 1970, Hanson co-wrote The Dunwich Horror , an adaptation of H.P. Lovecraft’s short story. Hanson wrote and directed his next feature Sweet Kill in 1973, then in 1978 wrote and produced The Silent Partner, starring Elliot Gould and Christopher Plummer. As the 1980s and 1990s began, he directed a string of comedies and dramas. He did thrillers, too: many of them would deal with people who would lose a sense of control or security when facing danger and the threat of… read more
its only failing is the ending where it throws all of its masterfully crafted suspense and mystery for a typical dumb shoot out...
I disagree. The shootout is anything but dumb. It's both those characters taking the story to the end of the line while asserting their loyalty to each other, which, obviously, was designed to appear unlikely at the beginning of the movie. The way they resign themselves to the fight as the cars pull in around them is not only a function of plot but an expression of character. And that's why the shootout works. It all serves character. Sure, there are a few genre moments in that scene, like where Cromwell spills the beans and stuff like that, but it's acceptable in my opinion. On top of all that good stuff, it's a very well-choreographed action sequence. It's clever and gripping and surprising.
I could’t say it really conviced me. It had some good moments, specialy the idea was good, the three specters of solving the case, which than evolved into it’s dept. But in general it had to many cliches… read review