The script when focused on Woody Harrelson's "Dan Brown" is top notch from crime writer James Ellroy and director Moverman. Unfortunately the characters on the sidelines are mostly cyphers and undeveloped. Though spellbound by the powerhouse performance by Harrelson one can't help but want to know more about the character's family, the investigation/conspiracy? against him and most of the fragile Robin Wright.
A great performance by Woody Harrelson.
I initially condemned "Rampart" as an ugly mess, but after soldiering through this bleak and affecting meditation on evil a second time, I've found a brilliant film that is in fact superior to Moverman's "The Messenger." This is a scathing movie that effortlessly draws up empathy and disgust (often at the same time) for captivatingly real characters as repulsive as they are pitiful. The minimal violence is awkward and ugly. There is no final plot twist, no realization, no redemption. "Rampart" is simply a complicated portrait of a complicated man, handled beautifully. It's everything noir wasn't meant to be, and I mean that in the best possible way.
Rampart's noteworthy in only featuring Woody Harrelson, the film itself is a slog. Rampart's use of choppy editing, documentarian-like narrative and obnoxious characters make it difficult to watch more than once. There is a reason Rampart has become lost and forgotten: not because it is an indie production but more due to it not being as bold with it's concept and setting as it suggests. Watch Bad Lieutenant instead.
occasionally effective, occasionally pretentious character study about an authoritarian cop on his way up shit creek. any movie that breaks the vigilante spell of the cop-renegade genre is fine by me, and the 90's mise-en-scene (complete with ice cube cameo) is a welcome return to a moment when people resented authority. but the glance is also nostalgic - like the film itself, with its scorcese-ish aspirations.
An artful look at the Rampart scandal of the 1990s in Los Angeles. Woody Harrelson does a fantastic job playing the angry, frustrated, alcohol-fueled police officer at the centre of the scandal. The style is split between documentary-like coverage and wide static shots of sun-scorched LA. Echoes of "Bad Lieutenant" aside, this film is meditative and destructive - but, it would have been nice to receive more answers.
"SHAME" moves from NYC to LA, but instead of an elegant top executive we get a white trash, racist, corrupt cop. AMAZING performance by Harrelson. Unfortunately low budget films like this one go unnoticed.
"you don't turn into a mongoloid" Harrelson as great corrupt asshole police-officer... but the movie was lame.
Harrelson is great but the film as a whole is as boring as hell.watch Prince of the city instead
Unexpected surprise performance from Woody Harrelson. I enjoyed this one!
Muddled verisimilitude ignores story, drunk nuance/innuendo undermines otherwise fine portrait of dysfunctionalism. Dir Moverman misses the importance of clear, delineable plot mechanics, tries too hard to match momentum of recent character pics Wrestler, Fighter, Crazy Heart. They understood you must end up somewhere in order for journey to not be about the journey. Watchable, if not memorable ok detour into ruin.
With a phenomenal performance by Harrelson, this character study doesn't explain but takes a hard look at a very evil man.
In Moverman's portrait of the broken American system of 'order,' he's depicted the worst kind of racial/bigoted/chauvinist reactionism, in which violence is not the worst element -it's the intelligent observation and regurgitation of legal and cultural loopholes that enables self-inflicted blindness. Dave Brown becomes the close-minded American's fear that the country has indeed been surrendered to dirty "diversity."
I wanted to like it so much more than I did. Love Ellroy, love the performances. I thought it looked fantastic, but the camera lingered in strange places. Sort of an uncompromising end, which threw me, but will stay with me. Harrelson was no holds barred, his rapport with Ned Beatty top notch. A strange cop movie.
Top-notch gritty cinematography.
I'd shoot that many people too if I had Anne Heche and that chick from Sex & The City as my WIVES. And they're supposed to be sisters? Fuck. I'd kill everyone in LA.
Harrelson does a 'Bad Lieutenant' in what starts out as a fairly straight-forward cop-off-the-rails and slowly morphs into a deeper and pretty disturbing portrait of mental illness and the social decay of the time. Harrelson is fantastic and the story moves along well. The look, shot on Arri Alexa feels a little mismatched in parts and for me there was still a little something missing by the end. 3 stars
A tragic, tense, beautifully-made film about a rogue cop in late-90s LA. Woody Harrelson gives an outstanding performance as the intelligent yet deeply troubled detective who's hard to like but (almost) impossible not sympathise with as his life careens out of control. The pacing, direction, music and particularly the cinematography are incredibly well done. On my list of the best films of 2011.
Phenomenal performance by Woody Harrelson as dirty LA cop Dave Brown + Superb photography from beginning to end. Also, two noteworthy appearances by Robin Wright as a beautifully tragic figure and the always intense Ben Foster cast as the bum-in-a-wheel chair.
[Spolier] Harrelson is very convincing as a man longing to recapture an innocence he has forgotten, finally shut out in the same neon-lit world as Travis Bickle. I think the film makes clear that the sporadic, violent catharses Brown has achieved in his job cannot alleviate the rage that finally threatens to consume him as the film closes; the film is to me more effective because of a lack of overt finale violence.
Knowing that such a film has not received any indication that it is more revolting. It's a joke. And the script? For a long time - very much - I have not seen a movie that respects both the intelligence of the spectator. James Ellroy is in the vein.
Mickey Knox became a cop.
Oren Moverman's sophomore effort is a stark, sometimes inscrutable record of LA cop Dave Brown's meltdown. Co-written by James Ellroy, the pitch-black irony and socio-political subtext of the story's place and time (Los Angeles, 1999) adds an extra tension to the elliptical structure. Bobby Bukowski's bold cinematography, the edgy editing and sound design also help to transcend the petty label of "an American indie."
Most corrupt? Not really. Most paranoid? Probably.
Starts out great, gets slightly less so as it runs out of places to go. But very good all the same.
Woody Harrelson is excellent in this otherwise rather dry film about a racist policeman whose brutal tactics finally land him in serious trouble, leading him to re-examine his life. Atmospheric, but kind of aimless, and not quite as deep as it thinks it is despite some fine performances.