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Unlawful Entry is by no means a great film; not even by genre standards, but it still stands out as a more than adequate example of the genre, and aptly portrays the basic thriller tradition. Next to thrillers from the same period; films like Basic Instinct, Unlawful Entry may seem a little tame, but as it puts the focus on its trio of central characters, the film becomes more interesting than it would have if experienced director Jonathan Kaplan had tried for more action and sex scenes. The film portrays the frightening idea of someone 'above the law' abusing their power for their own means, and does this through police officer Pete Davis. The action centres on married couple Michael and Karen Carr, who call the police one night after a thief breaks in and holds the wife to knife point. However, it turns out that they've actually made things worse for themselves as the officer sent to the house takes a liking to Karen, and thus makes it his business to infiltrate their relationship and try to take Michael's wife for himself...

It has to be said that the film doesn't offer much in the way of surprises, as the plot is purely formulaic and can be likened to any number of similar films, but somehow the familiarity of the plot gives it something of a relaxed feel, and while experienced movie watchers will feel that they've seen it all before, the film is carried off with enough panache to see it through. Unlawful Entry relies a lot on its actors, and the three at the centre of the story manage to deliver worthwhile performances. Kurt Russell gets toned down in his role as the unlucky husband, while Madeleine Stowe doesn't get to do any heavyweight acting, but at least looks nice. The pair doesn't really have any chemistry together, which is a shame and brings the piece down - but this is offset by a conniving Ray Liotta, who manages to get under the skin despite looking a bit like David Hasselhoff. The film is always interested, but never really intriguing; although the plot does work well and the ending is fitting in context. Overall, this is not great or a must see film; but its decent enough and I don't regret watching it.

I've heard people who took in a viewing of this movie say it was slow. I didn't feel it was slow. There was scenes that didn't directly deal with the main plot, but I liked that because we get to know what kind of people these are and just not some vaguely sketched characters. It's here the movie works because it lines you up and scares you in real world fashion. The reality to the proceeding give it the urban horror feel and not something made up that we could never identify with or seeing happening in our real lives.

The cast carries this out efficiently while if I had any complaint about the movie it would be Kurt Russell in the smaller role as the husband. I really like Kurt Russell and unfortunately there isn't a lot for him to bite into as the real star of this movie is Ray Liotta. Who I feel bad for lately since he hasn't been able to escape this sort of psycho role, but there's no denying that he's good at it and he is largely what makes Unlawful Entry rank amongst the best of the urban psycho dramas. The story might be predictable in spots, but good performances and great atmosphere go a long way.

Very intense little movie. Good acting and classic 90's atmosphere. Worth watching.

I remember seeing this film in theaters in 1992 at the tender age of 12, and I can recall now how frightened I was. That just goes to show the professionalism involved in this first-rate thriller. When a cop is on your back, what are you gonna do? Call the cops? Hmmmm....Kurt Russell and Madeleine Stowe struggle to find that answer here. Ray Liotta has never been creepier. Kurt Russell shines yet again in a role balancing the everyman we can relate to and the hero we cheer for in the end. One of the best thrillers of the 1990s.

A sterling entry in the psycho-thriller genre, mainly thanks to Ray Liotta's performance as the manic cop. Rarely has Liotta been this good: he literally simmers with pent-up rage whenever you see him on-screen, delivering one of the best turns of his career as the frightening cop from hell. Sure, Liotta could be good elsewhere – who can forget his career-changing turn in Scorsese's GOODFELLAS? – but he'll be forever remembered for the kind of sweaty, crazy-eyed role he effortlessly portrays here.

Liotta's given solid support from Kurt Russell and Madeleine Stowe as the unwitting couple who find themselves caught up in a nightmare. This is the archetypal 'slow burner' of a plot, with everyday events and subtle hints and clues gradually building from an impressive climax, which makes use of plenty of clichés but nevertheless ticks all the right boxes. UNLAWFUL ENTRY is one of those thrillers that doesn't disappoint, and unlike PACIFIC HEIGHTS it isn't spoilt with dated attempts at style. Thumbs up.

Unlawful Entry casts Kurt Russell and Madeline Stowe as a typical Los Angeles Yuppie couple who get a very big jolt in their lives when a junkie breaks in looking for what to rob and messes with both Kurt and Madeline physically and emotionally.

But the cure is far worse than the disease when Officers Ray Liotta and Roger E. Mosley respond to the scene. Liotta gradually insinuates himself in their lives because he thinks that Stowe is sending up signals that she wants him. This of course sets up the conflict between Liotta and Russell for the rest of the film. With Liotta having a badge and gun, he's at a decided advantage to say the least.

The film does belong to Liotta who seems like a normal middle class guy who went into law enforcement at first. It's a subtle piece of acting on Liotta's part as we see his true nature gradually revealed. The man does have issues which are revealed in his encounter with working girl Rosa Salazar and later as he commits some Unlawful Entry and watches Russell and Stowe getting it on. Of course since he's a cop it can't be Unlawful Entry.

Ken Lerner has a nice part in this film as Russell's lawyer, the kind you make jokes about, but also the kind it's good to have on your side when you're in trouble.

Unlawful Entry is a good, if a tad unrealistic film. One thing I will say though at the end it's absolutely anyone's guess as to what will happen with the survivors.

Michael (Kurt Russell) and Karen Carr (Madeleine Stowe) live in a Californian suburb. An intruder gets into the house and holds Karen at knife point temporarily before escaping. Officers Pete Davis (Ray Liotta) and Roy Cole (Roger E. Mosley) arrive to check on the incident. Pete is obsessed with Karen as his volatile character becomes increasingly destructive.

This is one of those psychological thrillers where the madness can be seen from miles away and the movie plows directly into it refusing to stop until the last frame of film. Ray Liotta always has that great dangerous madness just beneath the surface. Kurt Russell does a perfectly good everyman and Madeleine Stowe is a solid victim. This is a simple thriller with desperate intensity.

When I first watched this film, I could not help but marvel at how brilliant Ray Liotta was at his role. Even though Kurt Russell and Madeleine Stowe both gave very good performances, it is Ray Liotta that stands out the most. I found that the transition that Liotta made between playing a nice guy to an obsessed and jealous psycho was absolutely outstanding.I believe he deserved an award for his exceptional performance. Not many actors could pull off a performance like Liotta did. Overall I felt that this film was a well thought out thriller, and was well cast. It definitely deserves the credit it gets. I would thoroughly recommend this film to anyone who enjoys a good thriller.

What a great, suspenseful, and brilliantly acted film. I still have chills from watching it. Kurt Russell and Madeline Stowe are both excellent as a well off couple who are terrorized by an unstable cop(Ray Liotta, who also gives one of his best performances). The film gives us some great suspense, and you cannot help but feel bad for Kurt Russell when Ray Liotta starts stalking his wife. I have seen hundreds of thrillers and this is by far one of the best, along with "Cape Fear"(1991)and others. A must see if you like thrillers about obsessions. Overall this is a much underrated, always suspenseful, top notch thriller. 9 out of 10.

Directed by Jonathan Kaplan. Starring Kurt Russell, Ray Liotta, Madeleine Stowe, Roger E. Mosley, Ken Lerner, Deborah Offner, Andy Romano, Carmen Argenziano, Sherrie Rose. (R)

Another in the line of domestic paranoia thrillers that were all the rage in the early-90s; here, Russell and Stowe, unsettled by a break-in, befriend one of the responding officers (Liotta), who turns out to be a psycho with designs on the pretty wife. Like the similar-minded "Pacific Heights" before it, effective at demonstrating ways in which the system is designed to fail innocent citizens victimized by those with the wits or authority to exploit the laws/rules. The familiar elements are all in place here (especially lapses in credibility), and Kaplan hits them all with satisfying professionalism, though the script and direction rarely elevate from the routine. Russell and Stowe do okay in the thankless victim roles, but live-wire Liotta can always be counted on to bring more to a screw-loose rageaholic role than needed. The standard-order violent climax disappoints. Look fast for Djimon Hounsou as an arrestee briefly seen sitting next to Russell.

60/100

This is another typical unbelievable and non-sensical piece of Hollywood dreck.

Kurt Russell, as Snake Pliskin in a business suit, convinces me he was a better 2nd baseman. Ray Liotta as the psychotic cop is totally predictable and absurd. Madeline Stowe is her usual cardboard self, and does little to be a convincing victim.

Every scene in this persiflage is absolutely predictable all the way to the end when Kurt clouts Ray with a vase or something, knocking him down and out. Kurt and Madeline then do their obligatory end-of-the-movie embrace, and EVERYBODY--- except Russell and Stowe, KNOWS Liotta is going to get back up and menace the couple again.

He does, of course, and Russell drills him 10 times with his 9mm, which was ENTIRELY unnecessary. This movie could just as well ended with the bludgeoning scene--- EXCEPT Hollywood dotes on unnecessary violence, and the more they can add, or "enhance", the more slobbery they get.

I consider myself a big film buff, but before I'd seen it recently, I'd never even heard of Unlawful Entry. The story is pretty simple: a couple in love (Kurt Russell and Madeline Stowe) make friends with a cop (Ray Liotta) who turns out to be possessive and to make their lives a living hell (see also: The Cable Guy, which follows the same lines). But, with a simple story, this low-key film deserves recognition for being a clever and original thriller. Throughout the film, you feel all the emotions that Kurt Russell is feeling as his life is slowly taken away from him by the ever-menacing Ray Liotta. In brief, this is a fabulous film, which was under-appreciated and a missed hit.

Thing I like about this movie is that it isn't overdoing anything, or feels the need to spice things up with gunfights or explosions. It rather relies on its story, characters and underlying tension, like every good thriller should do, in my opinion.

No, this movie doesn't has the most likely story in it and some of the developments aren't all that convincing but the movie is simply being good and enjoyable for what it is. As a thriller it does serve its purpose well and probably won't disappoint anybody that is looking for a good thriller.

In its simplicity and setup, this is being a quite effective thriller, in which a cop starts terrorizing a family, when he falls for the wife. Things are slowly starting to get worse and more troublesome for the family. The way the entire movie gets buildup ensures that the tension of the movie works out effectively. It's basically being one of those stalker movies, a lot got made of, during the '80's and '90's. This happens to be one of the lesser known ones but it most certainly is not among the worst ones as well. You could even say that this is being a bit of an underrated and under-appreciated movie.

This movie also made me realize what a shame and waste it was that Ray Liotta's career never truly reached great heights. There was a period, around the time of this movie, that he truly was an A-list actor but he never really managed to maintain this status and there are too few classics, starring him, to consider his career to be a truly successful one. There was far more in it really. It's not like he has stopped acting but it's hard to imaging his career is still going to take off now. He was an absolutely great and charismatic presence and villain in this movie and almost completely stole the show away from other fine actors such as Kurt Russell and Madeleine Stowe.

This really is being a good, straightforward, old fashioned thriller, that is definitely worth a watch.

7/10

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It's interesting to note how forgotten the sub-genre of " People from hell " films are today . In the early 1990s every major studio would bring out a nanny from hell , a lodger from hell , a fan from hell , a client from hell etc etc . Perhaps the reason they're forgotten is down to the fact that the movies weren't very good and suffered from being formulaic ?

Certainly UNLAWFUL ENTRY is one of the more entertaining movies in its field and it's probably down to the cast . Kurt Russell who unfortunately seems to have disappeared from successful films over the last few years was always good at playing good guy everyman and here plays architect Michael Carr . Madeleine Stowe is someone else who seems to have disappeared from the radar recently plays his wife Karen and they both make a likable and believable on screen couple with Karen being the object of lust of sociopathic cop Pete Davis played by Ray Liotta . Okay I doubt if any of the cast were expecting Oscar nominations but the on screen chemistry makes UNLAWFUL ENTRY a very watchable film

There are some problems . Liotta is good enough when Davis is just an ordinary cop but when he acts all mean , nasty and obsessive he does tend to go over the top and unlike his two co-stars you can't really scratch your head wondering why Liotta now appears in obscure straight to video/DVD movies . Likewise the screenplay does became more and more unbelievable in the second half but that's always the problem with these type of movies . Not to be too negative it's still a watchable piece of entertainment

I love the word "ravish." It's only one step away from "ravage" and just down the block from "pillage." I try to use it every chance I get, as in, "Madeleine Stowe is ravishing. Any normal man would want to ravish her." Actually, even Ray Liotta, the cop, wants to ravish her and he's not at all normal, I hope.

The movie's got everything a thriller ought to have, right out of McKee's textbook. There is a speech praising the villain, the villain holds the hero at bay, a dead body comes back to life, there are several woman-in-jep scenes, the musical score is copied directly from "Halloween", a woman tries to shoot a man with a pistol from which the man has slyly removed the rounds. This doesn't mean it's necessarily badly done. It wouldn't be so familiar if it hadn't been used so many times before, and it wouldn't have been used so many times before if it didn't get the job done.

Until the very end, which is a traditional slam-bang confrontation with Stowe cowering in the background and a frightened cat and a dead plastic-bagged body stuffed in the closet for no particular reason, it's a routine story of a seemingly nice cop, Liotta, who ingratiates himself with a nice middle-class family, Kurt Russel and Stowe. It gradually becomes clear, first to Russell, then to the somewhat slower Stowe, that this guy is a few beers short of a six-pack. First he captures the burglar who broke into Russell's house and gleefully invites Russell to beat hell out of him. Then Liotta begins to suffer from the delusion that Stowe loves and wants him as much as he does her.

Give me a moment to put on my white coat. Hold it. Arm went into the wrong sleeve. Okay. "In clinical psychology we call this 'projection.' 'Projection' is the attribution of unacceptable emotions on to someone else, when in fact the motives are solely yours. You may see 'projection' displayed to better effect by Humphrey Bogart's character in 'The Treasure of the Sierra Madre.' That's all for the moment. Thank you."

Well, it's routine but it has a couple of good things going for it. Liotta's attentions to Stowe, who is, as I said, well worth whatever attention she gets, is both uninvited and unrequited. But Russell isn't that cool. He suspects at first that something is going on between his wife and Liotta. and there are some angry exchanges dealing with this possibility. Compare, Andy Garcia and Nancy Travis in "Internal Affairs," a movie to which this one bears some resemblance. At least the family is not all bourgeois and snuggly. A bit of edge here and there doesn't hurt.

The opening is rather nicely done too. A silent helicopter shot of a taped-off crime scene -- a couple of humdrum cop cars arranged around a body spread eagled in the middle of the road. The camera meanders over the suburban roof tops and picks out one comfortable mission-style home to zero slowly in on a figure in a red swim suit using the aquamarine pool in the back yard. A typical Los Angeles home, nothing too fancy, worth no more than about $120 billion. Nice opening. Well, you know, if it was good enough for Hitchcock in "Psycho", it's certainly good enough for "Unlawful Entry."

That introduction takes only a few minutes but is concisely written too. We learn basically all we need to about this ordinary and ambitious family. We learn they're hard up for money, that Liotta loves his wife but spends too much time working on business deals, that he plays golf, that his wife wants children. None of this is clumsily spelled out in dialog either. We only guess that he enjoys bourgeois golf instead of proletarian bowling because when he investigates a suspicious noise he walks to his golf bag and yanks out a putter. We guess that she wants kids because of the way she treats the family cat, but those are examples of what I mean when I use the term "concisely written."

In the end I felt a little sorry for Liotta's character. True he clobbers anyone he feels like clobbering, he later murders his partner in cold blood and strangles an innocent young woman, and he throws another naked, compliant, young police groupie out of his car, and he peeks in on Stowe and Russell when they are in flagrante dilecto -- but at least he leaves the cat alone. (In these kinds of movies, the cat doesn't usually survive.) And he's not given a cheap excuse for his derangement. His father didn't abuse him when he was a child or anything. He's just plain nuts, but in a pathetic way, an apologetic way, that almost compels you to wish he had been sane. He's a marginal person in every respect -- no girl friends, no home, nothing.

And, full as the film is of clichés, the dynamic between the three principals is still captivating. Few of us are as rich as Kurt Russell is here, but we can all identify with him because he and his wife find Liotta at first interesting, then insinuating, then intrusive, then mad. It raises questions like, "How do you get rid of someone you dislike but who insists on being your friend?"

Kind of interesting.

"Unlawful Entry" kept me on the edge of my seat, or should I say the edge of my bed. Ray Liotta proved with this performance that few actors can play the apparently shy guy with evil tendencies better than him. The movie also presents some good "What if" questions. In the pivotal scene, Liotta grabs the burglar who ran into Kurt Russell's house and put a knife to his wife's throat. In an earlier scene, he explains how he'd beat the living crap out of that burglar if he had the chance. Well, one night Liotta gives Russell the permission (him being a cop) to "beat the living crap out of him" and Russell totally panics and refuses. Meanwhile, I'm thinking to myself, "If Madeline Stowe were my wife and that moron put a knife to her throat, I would've taken that nightstick and beat him to death." But then again, I'm saying that while sitting comfortably on my bed, watching the movie. I'm not in his shoes. I'm sure many people would panic in that situation.

Though the movie kept my eyes glued to the screen, I could've done without certain plot conventions towards the end. I don't have to spoil it for you. You've seen thrillers in the past, you know what I'm talking about. And the writer could've trimmed the use of lines like "Get the f**k out of here," "Stay the f**k out of my house" and "Stay the f**k away from my wife" or "If you touch her, I'll kill you." I think those lines have popped up in every movie thriller I've seen. But the best reason to see this movie is Liotta's flawless performance. On those grounds alone, this movie is well worth seeing.

My score: 8 (out of 10)

I miss movies like this, way more simpler but you can tell the quality that went on it. Specially in the acting Kurt Russell, Madeleine Stowe and specially Ray Liota he is the one that's stands out as an obsessive psychopath, he nails it perfectly as he is a shallow charming guy but deep inside he is demented.

What gets me in this movie than the films today of the same genre is the attention to detail, how they explore the characters making them feel authentic and true to their nature. Even if it feels "old" I highly recommend it. It's a movie for any day a Wednesday night or a Sunday afternoon.

Typical thriller, has been done many times before. Simple plot outline; cop Liotta becomes obsessed with Russell's wife, and he tries to bump off good ol' Kurt so he can have her. This is beyond predictable, it doesn't even try to make you guess, the plot is the plot and there's no thinking outside the box here. I guess then the only reason to watch it is to see how it develops, but nothing is done originally or interestingly. There's not really anything to say about this film, it's not particularly bad, but there's no good points either. Russell plays Russell and you know what you're gonna get when you see him in a film. Ditto Liotta. Stowe has an annoying Cher-esque voice. I read the plot outline and I could see the film in my head, it was so obvious and basic. I watched it and it rolled out in front of my eyes exactly as I had imagined. I felt not a drop of emotion throughout. I have no feeling towards this film, it's as if I never even watched it. Considering this, it's a pretty pointless film isn't it? Still, I'll give it 3/10 for some reason.