Q & A

The last and least of Sidney Lumet's three stories of (more or less) innocents trying to uncover police corruption and blow the whistle on the guilty, and the only fictional story. There's nothing wrong with the acting of the principals. Nolte is brutish and tall in an over-the-top performance. (He always looks larger on screen than in person.) His New York accent, however, is clearly superimposed on an unregional Omaha set of phonemes. Jenny Lumet looks splendid but has the same problem with her accent, and her scenes are too long as part of a mixed-up romantic subplot that doesn't hold together well. Timothy Hutton has less of a notable problem with his speech, and he is really quite good as the innocent-looking but by no means weak investigating attorney. He even looks pretty Irish. O'Neal is the smoothly villainous and murderous head of the investigation, and a very good villain he is, as usual. Guzman and Dutton provide excellent supporting roles. And Armand Assante seems built for the part of the iron-eating PR drug dealer who has made the decision, a thoroughly rational one, to get out and live in the Caribbean sunshine. His body movements provide a language unto themselves, his smallest gestures are magnetic. They draw so much attention to themselves that they are almost the self-parody that they were in his hilarious spoof of detective movies. He's an exceptional actor.

The movie's plot, however, leaves a good deal to be desired. Its fictional skeleton shows through. You've never seen so much ethnicity on the screen before, and it's misplaced. It's easy enough to believe that racial insults are offhandedly traded among in-group members but difficult to believe that every conversational exchange, no matter how casual or intense, must include one. And at the very time when some of these barriers are beginning to weaken, judging from the rising rates of intermarriage. Serpico's story was relatively simple. Prince of the City far more complex and realistically tragic. This one is simply hard to follow as well as hard to believe. Boats turn into fireballs in unlikely ways, as they do in quickie action movies. Characters fly back and forth from San Juan to New York and some are killed and it's difficult to keep track of what's what and who's who. It isn't that Lumet has lost his touch.

When a character is shot in the neck, man does he bleed out. But the director is working with less compelling material here and in any case this kind of narrative is running out of steam. All of that notwithstanding, this is still a notch above most of the junk polluting the multiplex screens today.

Whats not to like about this movie? Well, the violent and the dark, at times manic context which prevails in a good share of the scenes, together with the perversity thats being thrown at you in the most unsubtle way. Nick Nolte's Brennan must be the most foul,intimidating and maniacal cop figure ever portrayed since Orson Welles' Captain Quinlan in "Touch of evil". He pulls off a great performance, although not very pleasant to watch (nor listen, for that matter).

Whats there to like about this movie? For one thing, there is Armand Assante and what most likely is the role of his career, even if its a supporting one and he gets only a couple scene stealers. He demonstrates how great he can be if given the right part. And his role is very interesting, an archcriminal with feelings, brought out by a woman who may not even love him.

Jenny Lumet was also good in her role, although I missed more interaction between her and Assante's character. Timothy Hutton, although overshadowed by Nolte and Assante in turns (inevitable really), proves again that he is a solid actor.His performance is not spectacular(as the role doesn't allow it), but its worthwhile. Another great presence by Patrick O'Neal as the sly and cunning district attorney with a criminal past and ties to Bobby Texador(Assante).

Sidney Lumet is the master of socio-political drama/comedy/thriller. Here he mixes all three into an enjoyable, intriguing and satisfactory work. This film deserves more attention than I believe it got. But again, looking at its "walk on the wild side" perspective, it really couldn't have become a blockbuster hit an average person chooses to watch on video or DVD on a Saturday night.

I liked this film, a lot. It had some uneven moments in it, mostly Sidney Lumet's daughter's attempt at acting. However, Nolte and Assante are GREAT! This is gritty and realistic movie making. One sympathizes with the somewhat idealistic assistant district attorney (Timothy Hutton) as he tries to do the right thing, with so many thing in his way. The language of the movie is raw, with many memorable quotes. However, after viewing the movie you will find yourself remembering the roles of Nolte (Frank Brennan) and Armand Assante (Bobby Texador). Nolte is a cross between John Wayne and Ted Bundy. He is the first cop through the door and the first to pull out his weapon. He gets the job done, but he also breaks the law whenever he sees fit. Hutton, like many, admire Nolte, but the more they find out about the guy, the more they see that he might be the real threat to society. Bobby Tex is the very charismatic drug dealer that honestly wants to get out of the business alive. It is rare that the character that you root for the most is a drug dealer, but this movie maybe the one exception. He is better than the murdering cop. Hutton plays the straight guy in between these two forces of nature. Hutton has personal demons and real demons standing in way of doing the right thing. Good, solid story that you will enjoy. No Hollywood ending here. This movie is RAW!

"Yeah, what?" - "Who are we getting to chew up the scenery as Mike Brennan?" - "You kiddin' me? You specialising in bustin' my b**ls? Send for Nick Nolte!" - "Nick (choke) Nolte? Are you talking to me? I've just been on the phone to the mayor and the D.A. is crawlin' up my ass. You're a dinosaur, Lumet. Your ideas don't fit today. I want your director's guild ID on this desk now. People have a nasty habit of gettin' DEAD around you!"

This is one of Lumet's three hour and always worthy examinations of police corruption and compromised idealism. This is similiar to his 'Prince of the city' although it's not let down by an actor like Treat Williams who was not up to the job. Q&A suffers from some over-ripe, stagey and over played performances that are allowed to run on longer than the scene's necessity. It also has such ugliness and perversion that you wonder whether the film really needed to be made as we have been down this road before. Hutton has the best scene whereby his heart is broken by a loyal old mentor who always warned him that it was inevitable.

The main problem I have with this film is the susposed racism of the Reilly character. I'm not sure about the point of the subplot and why would a man who has a coloured girlfriend be shocked that her father is black? Surely it was on the cards.

Lieutenant Michael Brennan has a tough reputation as an old-style cop that breaks balls but gets the job done. However had someone seen Brennan hiding in a dark alley outside a club until his suspect came out for a p1ss only for Brennan to shoot him dead and plant a gun that had been used in other murders, then that reputation may not do him much good. On this occasion Assistant DA Al Francis is brought in to do the investigation – one that is sold to him as a formality to get him started. The Q & A's go well but Francis is given enough to doubt that the shooting was as clean as Brennan tells it – however Brennan is not the type you easily square up to and soon the stakes are high.

Opening with a sudden moment of violence this film leaves you in no doubt that Brennan is not a rough cop so much as a cop operating above the law on his own agenda. Like The Shield has done recently this drama puts us in the complex world of the grey areas and invites us to consider the pay off between doing things by the book or taking hard action and "getting results". It doesn't do this to a great extent though – just enough to be add layers to the character but clearly corrupt enough to be the evil heart of the story. The narrative builds a dark drama involving the police investigation into Brennan on one side, with the criminal awareness of Brennan's murders on the other. It isn't really a character piece about Brennan so much as it is a straight crime drama but it works very well for what it is. I have no idea why it is so underrated on IMDb because it is an effective thriller with an enjoyably tough edge to it from start to near-finish. I say near-finish because the film concludes by tying up the story with Francis' relationships and soul – neither of which are that well done across the film and thus I didn't care as much as I should have done.

Lumet's direction is good and captures the depressing feel of New York at its lowest point. However the choice of music has two detrimental effects. Firstly it dates the film really badly, which is maybe a problem that can be forgiven as part of time going by. The second impact is less forgivable and must have been a problem at the time and this is how the music fits with the drama. For example several key scenes are played out under the chirpy tune "Don't Double-Cross the Ones you Love"; it is as grating and clunky as it sounds and it is a stupid effect that happens several times with the same result.

The cast are mostly very good though. Nolte chews the scenery and steals every scene with a character so monstrous that even his absurd handlebar moustache cannot take away from it. Hutton is good enough to do the job but sadly his character isn't as convincing as it needed to be; the script tries to make him more interesting than a choir boy but it doesn't do it very well. Assante is a little OTT at times but he works well in his character and fills the gap left by Nolte's absence. Minor support is good and features a cast that got starry with time – Guzmán, Dutton, Chianese, Finkel and others. Lumet tries hard but her part of the narrative is weak and thus her task is a rather thankless one.

Despite the problems though this is still a solid and dark cop drama that holds the interest well. Some of the performances may verge on ham, the music may be mostly awful and some elements of the narrative fall flat but for what it does well it is certainly worth a look.