Really disappointing as a whole. There's some questionable aesthetic choices for example. And even though this is supposed to be a character study, I can't help but feel indifferent since the other characters and Brown's personal relationships aren't fully developed to make an huge impact on the viewer. That being said, Harrelson is absolutely great here, and the main reason why I don't go with a lower rating.
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.
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.
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.
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."
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."
Slow, but full of well acted and executed moments of great filmmaking. Woody Harrelson rocks it alongside an interesting cast full of supporting actors (Ben Foster and Ice Cube especially impress.) I really like Oren Moverman's style, which applied aptly here. As a character study, it's a really slow burn that sometimes meanders a bit more than it observes/showcases, but when it works, it works damn well.
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.
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.