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Revisiting Romeo is Bleeding after a number of years, I was struck by what still works, what doesn't, and how wonderful endings allow us to overlook any number of faults that lead up to them.

Gary Oldman is Jack, a corrupt DS well-loved by his men looking to build an ill-gotten nest egg towards early retirement. And on one level it is all going so well, except enough is never enough, and he just can't leave the ladies alone.

Enter Mona (Lena Olin), a femme fatale who manages to inhabit both the femme and the fatale completely. The cop in Jack knows to cuff her, lock her up, and throw away the key, but the Jack in Jack has another agenda.

Romeo is Bleeding is every frame a modern noir thriller, made great by Hilary Henkin's script exhibiting detailed reverence for the genre, and some unparalleled performances by the actors. Oldman is breath-taking, cynical and world-weary delivering his Marlowe-style quips, raw and vulnerable reaching crescendo when he puts a gun barrel in his mouth. It would be too much to ask his co-stars to outshine him, but they certainly keep up. Olin produces a nightmarish laugh at the most inappropriate times, and Juliette Lewis's cocktail waitress (what else?) Sheri's innocence is perfectly ignorant, far too ignorant to survive in this brutal arena. Annabella Sciorra as Natalie completes the trio of Jack's women, his not-so-unaware wife. She is not as cold-hearted towards Jack as Mona, not as infatuated as Sheri, but her flawed love contains a bit of both. She points a gun at him, and we know she knows. Sitting on the porch they have one of those oblique conversations only old married couples know, where every utterance is sub-text, and restraint and feigned ignorance are the name of the game. Jack never quite gets to grips with her, and that is to be his ultimate tragedy.

There are hints of Chandler here (the letter to Jack from The Boys), and Chinatown, too, most noticeably in the bloodied, deformed demeanor of the protagonist in the final third, but Romeo is Bleeding is a stylish noir piece that acknowledges its antecedents without racking up debts.

And then there is the ending, of such heartbreaking, poignant beauty, Oldman and Sciorra pitch-perfect, deftly shot and edited, a wave you ride and crash on shore with. Startling, stunning, and yet how could this tale have ended otherwise? "Sometimes, she stays a little longer. And then she's gone." Not a perfect film, but a perfect ending, and I'll take that every time.

Every time its May 1 or December 1, I think of this movie. It means something, it must be good to leave that kind of impression on me. When a movie sticks in your mind, even if its just one quote, for so long after you have seen it (and the last time I saw it was 3 or 4 years ago) it means it can't be bad. So thats one thing. Another thing is that it has absolutely top notch cast. Gary Oldman, Lena Olin, Michael Wincott, Juliette Lewis, Annabella Sciorra, Will Patton and James Cromwell-all serious and talented actors. And the story is very interesting too. I mean you have this so-flawed main character who is at the same time very human and even sympathetic in a way that he's lost, he can't really help all the mess he's got himself in. It is a very human character, no? And in the end he does the right thing, but is it too late? Seems so. This movie is just about that-how we sometimes don't wake up and see the light until we have lost everything that was dear to us.

What is the flaw with the movie? Maybe its that it didn't perhaps get everything it could from such an interesting storyline. I mean, corrupt cop who's in the mafia's pocket and cheats on his wife yet loves her, then gets caught in the dangerous game with a deadly Russian criminal who is a man eater at the same time...well, maybe not after all. Its a movie that succeeds in pulling it all together rather well and at the same time making us stay on the edge of our seat to see whats gonna happen next. Not many American modern movies have done that. I can mention one that came out the same year as this one, Carlito's Way. But that is a different story and genre really. That was a gangster film noir with a love story thrown in, this is both a film noir and a love story. Thats why the title is ROMEO is Bleeding.

Gary Oldman makes one of his strongest performances and the same can perhaps be said for Olin, who is very convincing and menacing in her part as the deadly seductress whose only aim is to devour everything in her path. The ending leaves us in doubt to what really happened, there is no typical Hollywood ending and thats good. It again mirrors how things really go in life as Jack is left on his own waiting anxiously for his wife but nobody, not even he, knows if he will ever see her again. And thats art imitating life.

I happened to stumble on this one night. What a mesmerizing movie! Gary Oldman is terrific as a corrupt Detective. You get the feeling from this guy that he was probably once a young, idealistic, honest cop, who has just been slowly manipulated, and seduced by the seaminess, the money, the sex, the despair.

How this guy could stray from Annabella Sciorra is beyond me, but that's another story.

What you see is this guy's whole life crumble down around him, due to his poor choices, his dishonesty, and his inability to control his cravings. Just about everything that could go wrong does, and his entire life, everything he thought he was working for, virtually blows up in his face.

To finally see, and realize all he's lost is played out very well by Oldman. A very well-done, well-acted film.

Romeo Is Bleeding is directed by Peter Medak and written by Hilary Henkin. It stars Gary Oldman, Lena Olin, Annabella Sciorra, Juliette Lewis and Roy Scheider. Music is by Mark Isham and Gary Alper and cinematography by Dariusz Wolski.

Oldman plays corrupt cop Jack Grimaldi who does favours for The Mob in exchange for considerable payments. He has a loving wife and a mistress, but even that can't satiate his lust leanings. So when he is assigned to babysit Russian hit-woman Mona Demarkov (Olin), he is soon up to his neck in sexual yearnings. Something which spells trouble for everyone...

A box office flop and savaged by some pro critics, Romeo Is Bleeding is clearly not a film for everyone! Yet for those who like their neo-noir sprinkled with satire and Grindhouse flavours, it's definitely the film for you. It's possible that some folk just didn't get it, that it has its tongue firmly in its bloody cheek? While some of the charges of misogyny and it being a macho fantasy are kind of moot given it's written by a woman! Undeniably it is guilty of going too far over the top, where as it cheekily laughs at itself it forgets to rein itself in, a problem since the finale is surprisingly touching but difficult to accept given the carnage previously.

The trajectory of story is classic noir. Hapless corrupt copper Jack Grimaldi loves his wife but finds it easy to cheat with other women. Once the incredibly sexy Mona Demarkov slinks into his view, he's in big trouble. Add in The Mob after him due to not carrying out a "hit" and you get a noir protagonist spinning towards misery. Grimaldi narrates in snatches to keep the mood simmering on desperation, while visual smarts like a triplicate mirror image - or a scene at a amusement park - further enhance the noir atmosphere. While Olin's Demarko has to rank as one of the most potent femme fatales to steam up the screen.

Superbly performed by the principal actors and backed up with solid support, film doesn't lack for quality in that department. And with Wolski's photography and Isham's music also leaving indelible marks on the sleaze and greed mood, tech credits are impressive. If only Medak had not tried to take too bigger a slice of cake then this would be talked about as a neo-noir classic. As it is, as appendages are lost and the pulses raised, this still plays out as a disgustingly sexy, weirdly off-kilter and bloody fun piece of film. 7.5/10

I really don't think this is a neo film noir masterpiece some would have you believe it is - it's messy, a little unbalanced and plods occasionally, but it does round up a remarkable cast, employs an inspired Mark Isham soundtrack to great effect and has its stellar moments, namely every time Lena Olin, the true engine of this film, is anywhere to be seen on screen, and for that reason only the movie is worth spending time on. She infuses all her scenes with energy which even Oldman has problems keeping pace with and effortlessly steals the entire film, directed to slightly overdo the grind-glass voiced Russian hitwoman Demarkov as a genuinely dangerous yet irresistible psycho bitch from hell. She pulls it off with great panache though and her performance is what you'll remember long after watching the film. Elsewhere, Oldman freaks out convincingly and by the book, Juliette Lewis pouts around in her underwear pulling her usual few faces before she is bumped off to oblivion, while Sciorra and Scheider leave their mark but end up underused in their episodes. An affectionate yet uneven tribute to film noir that occasionally loses its step and spreads itself a little too thin for comfort, but still definitely watchable.

Nothing and no one in this demented attempt at neo-noir makes enough sense to be worth caring about, but that doesn't mean it's entirely devoid of pleasures. Let me list a few:

1) Lena Olin laughing maniacally while garroting Gary Oldman.

2) Lena Olin laughing maniacally while choking Gary Oldman with her legs as he's driving.

3) Lena Olin kicking a high heel over her shoulder with exquisite precision. *chef's kiss*

4) 90% of Lena Olin's outfits basically ending at her waist.

5) Gary Oldman screaming in terror at the sight of Lena Olin.

Peter Medak's disheveled take on the great film noir genre tries hard - with requisite voiceover(s) of the detective-protagonist, played by the usually competent Gary Oldman, and an atmosphere of pervasive corruption - but unravels in final 20 minutes with inexplicable plot elements and completely unrealistic actions by both main and minor characters. However, if you like your femme fatales fatally sensual then Lena Olin's performance almost makes this sketchy movie worthy of your time, as her scenes with Oldman sizzle in expectation and "you-know-you-shouldn't-but-you-probably-will" desire. Roy Scheider pops in for a couple of moments as the mob boss behind all the carnage, delivering a line about evil that is quite relevant today: "You know the difference between right and wrong but you just don't care." As for the end, at least it did fulfill the original film noir's alienating conclusions, avoiding a clichéd "happy" one. Final complaint, the pseudo-jazzy score was annoying enough to interrupt the flow several times during the film. All in all, just go on AMC and search "FILM NOIR" - YOU WON'T BE DISAPPOINTED.

One of my favorite lines from "Romeo Is Bleeding," an overlooked tribute to film noir. Jack Grimaldi(Oldman)is a crooked cop that rats info to the mob about the whereabouts of mob witnesses. He is also a louse of a husband, cheating on his wife(Sciorra)with a waitress (Lewis). Life, in his view, is good, especially when he gets the money from the mob, which he uses "To feed the hole" in his backyard. Then, one day, his life slowly goes on a descent to hell when he is assigned to watch over the deliciously wicked Mona(Lena Olin, who should have gotten an Oscar nod for this performance). Mona makes a proposition to Jack: Help her fake her death and he will be paid VERY well. The problem is that the mob, led by Roy Scheider, wants Jack to wipe her out, or they will wipe him out. What happens to the characters in this film is what makes this a very intense film. The scenes between Olin and Oldman are hot enough to burn a hole in your television screen. This is a must see film that you have to have in your collection.

Lena Olin is vicious, frightening and extremely sexy in this offbeat film noir about a corrupt cop (Gary Oldman), his bored wife (the beautiful Annabella Sciorra) and his dimwitted mistress (Juliette Lewis). Sometimes it's bloody, sometimes it's funny and sometimes it's very sensual. But, it's consistently alive and truly a unique film experience.

There is an insane sequence towards the end when a handcuffed, blood soaked Lena Olin wraps her legs around Gary Oldman's head while he's driving a speeding car. It sounds odd, and it looks even odder, but it's probably a classic action sequence. "Romeo Is Bleeding" didn't get much attention when it was released and didn't do much at the box office, but I believe it will rise above obscurity in the future and be hailed as a truly original piece of cinema. 7/10

The ultimate Gary Oldman Film Noir! If you want to see a great thriller that makes you sit on the edge of your seat with out being overly gory, check this movie out!

Big city cop in "It", up to here! Great story and cinematography! Excellent soundtrack, and the weirdest cop story I've ever seen. I have seen it, I don't know how many times, but I never tire of it.

Everyone does a fine job of acting and Lena Olin is one of the most lethal women in a movie I've ever seen. She should been cast as a killer in a "Bond" film by now.

Oldman is great with his New York accent, and makes you feel the pain he feels when he loses a toe, or should I say, when it's taken from him. I won't say how, but he's got some bad friends in low places.

It's a love story that gets all f***ed up. But what an incredible ride through the film. He's up and when he comes down, it's crash and burn all over the place.

Rent it, buy it, just see it. The DVD is here finally, wish there was a commentary on it, but that's how it goes. Ciao 4 now xoxox

Policeman Jack Grimaldi (Gary Oldman) gets involved with seriously disturbed assassin Mona Demarkov (Lena Olin).

That's about all I'll say--the plot is VERY convoluted. I saw this in a theatre in 1993. I was pretty impressed. Seeing it 11 years later I'm not. What looked inventive in 1993 has been done since...and better. This now comes off as an amoral, sleazy, very bloody, very violent and (surprisingly) tedious movie. There's not one likable character in this--I hated everybody. The jazz score got on my nerves quickly and the pointless nudity and extreme violence just annoyed me.

The acting is pretty good. Oldman is excellent (as always) faking a credible American accent. Juliette Lewis is pretty lousy as his mistress--but then, she's never good. Poor Annabella Sciorra isn't given enough to do as his wife--but she IS great. And Roy Scheider is VERY good as the big crime boss. But it's Olin who steals the movie. Her performance is WAY over the top--she's totally ruthless, incredibly sexy and goes full force all through the movie. I'm really surprised her performance didn't get more attention back in '93. The movie just came and went pretty quickly.

I'm giving it a 6...mostly for the acting. It plays like a Quentin Tarantino/film noir cross--a BAD one!

This film checks off all the boxes of old cine noir, the narration, the grittiness, the flawed point-of-view character (couldn't call him a hero), the femme fatale. Maybe it tries a little too hard. This film was apparently not very successful, even with an A-list cast. Lena Olin was very good, as were the other two main actresses. (Juliette Lewis and Annabella Sciorra). Overall, pretty good, not great. By the way, isn't it interesting that the characters in movies can always find places in New York City that are utterly deserted, even in the middle of the day?

A modern noir film, if I may say so, starring Oldman as a police officer who tries to make money but destroys his life and everything around him. There are several supporting roles that have been wasted other than the fatal woman in the life of a police officer. A lot is happening, a lot of blood and violence, much more than I expected. I think the film got too complicated and so actually lost on quality.

Peter Medak's Romeo Is Bleeding is one of the most overlooked crime films of the 90's. It's a downbeat, pitch black, simmering sociopathic neo noir filled to the brim with excellent character actors and actresses inhabiting various delicious cop, gangster and femme fatale roles. It has a lyrical, moody poetry to it it, evoking the noir flicks of the 40's albeit with a decidedly modern, violent and demoralizing bite to it. Gary Oldman, in a monumentally underrated performance, plays Jack Grimaldi, a sleaze bag cop attempting to play the Police force, the Feds and the mob against each other in order to make obscene amounts of dirty money for himself. He's a two timing, amoral asshole of a protagonist, but Oldman plays him in a stray dog, sheepish way that you just can't help root for him, and feel like an outlaw doing so. Of course his scheme falls apart (as all schemes like this do, in movie land) spectacularly so, at the hands of Mona Demarkov (Lena Olin) a tyrannical, deranged Russian contract killer with a penchant for gleeful brutality and unhinged violence. Olin is a wonder in the role, a grinning black velvet spider and a source of constant nightmares for Jack, as well as the audience. The film has a darkly comic, almost fairy tale like quality to it, a sense of inevitable karmic catastrophe at the hands of the mob and the law. Oldman mournfully narrates the proceedings from a hazy desert enclave that may or may not just be a dream, and yearns for a second chance. Medal directs with steely, melodramatic precision. Juliette Lewis does her early 90's ditzy thing to perfection, Annabella Sciorra is sweet as Jack's poor wife, the only sympathetic character in the whole deal, Roy Scheider feels a bit miscast as the vengeful mob boss, but Ron Perlman, Michael Wincott, Will Patton, James Chromwell, David Proval and Dennis Farina are top notch in welcome cameos. I feel like this script alone should have gotten a lot more attention, let alone the simply stunning, beautiful film that it has turned into. Anyone who's a fan of crime films, noir, good story lines, and this troupe of actors (and really, how can you not be, just look at this cast!!) will love this.

Very odd film that has it's moments and is reasonably entertaining. It does however faithfully indicate police intelligence -

Since when were December 1st and May 1st six months apart???? This "statement" was repeated many times throughout the film by Jack.

Gary Oldman was much better in Leon - altogether more sinister.

A 90's-style noir that lacks the moodiness and clean story-telling of the great 40's and 50's noir but with loads of gore and violence yet not enough action to be consistently entertaining.

Lena Olin's deliciously over the top performance as a psycho mafia hitwoman is a highlight of the film.

The plot is rather convoluted and doesn't make much sense when you think about it; all the crosses and double-crosses seem entirely unnecessary to achieve the characters' endgame. The cinematography is too bright and sunny to be a true noir, I believe.

The site wouldn't let me post this without at least 10 lines of text. This is ridiculous. I've seen reviews with fewer lines than that. Sorry to pad this review to achieve the mandatory 10 lines.

Probably everyone has one favorite movie that they consider "their own" because few, if any, of their friends share their admiration for it. Mine is this one. I just love this film.

It is only one out of over 5,000 movies have either rented or purchased that I watched back-to-back nights after seeing it for the first time. A dozen viewings later, It's still just as good, if not better. It is, start-to-finish, the most entertaining crime movie I have ever watched.

Being of fan of film noir, those wonderfully-narrated crime films of the '40s and '50s, Romeo Is Bleeding is right up my alley. I may be wrong but believe this whole film is simply a parody of the film noirs: an outrageous take on those movies with an over-the-top villain (Lena Olin, the most fascinating female I have ever come across on film), along with over-the-top characters, action scenes, dialog and narration. It's a wild, fun - albeit sick - ride, not to be taken seriously (which a lot of people did and then thought it was too goofy). Evidence of this film-noir spoof is in the dialog, with a number of fantastic dark-humor lines, many delivered by Olin. One has to see this a number of times to catch all the humor in here. Kudos to screenplay writer Hilary Henkin for her work.

Oldman is superb and its the glue that holds this unique story in tact. His narration, including the exaggerated inflection in his voice, is fantastic. I appreciate the American accent this British actor used, too. Olin, as Russian hit- woman Mona Demarkoff, she is one character I guarantee you will not ever forget. Roy Scheider, Annabella Sciorra, Juliette Lewis, Michael Wincott and others - cameos by Dennis Farina and Ron Perlman - all deliver great performances with lines that, well,....as I said, are outrageous.

If you love the old film noirs, please check this movie out and remember it's tongue-and-cheek.

A dark thriller with a hopelessness at its core that eats away at you the same way it does with Oldman. At one point his character says "All I could think about was feed the hole, feed the hole..." That hole represents his own private Hell, one that he created and he is perpetuating - but as long as things are going smoothly, if badly, things are OK.

One great, great scene is where Oldman casually sets his gun down on the kitchen table and Sciorra - sadly, in too small a role - picks it up and points it at him. The look on his face is priceless.

This movie has the same ethos as "Bad Lieutenant", but doesn't have that movie's crushing, personally wretched banality. It's also not quite as shocking or intense. Instead, it uses its main character's arrogance and sadistic tendencies as "fatal flaws" which ultimately help to bring down an otherwise quasi-noble guy.

I liked this movie up to a point, but sometimes it feels like I'm being manipulated - shown something shocking just for the sake of it being shocking. Like the scene with Olin and Oldman in the car that is excerpted at the beginning. A lot of that is just unnecessary. It's supposed to help set the tone, but by this time the tone has already been set - these are both desperate characters with a lot to lose and little to gain.

Big city police officers with basement-filth addictions will identify with much of this masterpiece. I did.

"Jack" has a problem; Money and Sex. When he's not getting enough of one, he seeks way too much of the other. Jack had big dreams. And, he was doing something about those dreams. Everything was going great, until one day...everything started going wrong. You see, there's not much future in playing four sides against the middle. Especially when the four sides include a mobster, an opposing mobster (a female sex-goddess), a beautiful supporting loving wife, and a super-hot luscious girlfriend. Jack is not just bleeding...he's hemorraging!

If you're a police officer, this In-Service Training Film is a requirement! WARNING: HAVE DRINK IN HAND WHEN VIEWING

Like Jack says, "Hell...is when you should have walked away, and didn't". Good Luck!