Redwarmin This movie is the proof that the world is becoming a sick and dumb place

Pluskylang Great Film overall

Pacionsbo Absolutely Fantastic

Chirphymium It's entirely possible that sending the audience out feeling lousy was intentional

NateWatchesCoolMovies Joe Carnahan's Narc is a proper old school ass kicking crime picture, and a blistering one that pulls no punches in the grit department either. Carnahan is clearly in love with the rugged action/genre pieces from the 60's and 70's that he grew up with, and every film he has made so far in his career has been reflective of that, starting with this excellent debut. He comes charging out of the gate as fast as his lead character breathlessly pursues a perp through a run down suburban neighborhood, a sequence of pure visceral brilliance that sets the tone and let's us know he means business. Jason Patric plays Nick, an under cover narcotics officer with a decorated past and the scars to show for it, working the dankest streets of motor city Detroit. When a recently slain fellow officer's case is reopened, he is picked to investigate, joined by the deceased cop's former partner, Lt. Henry Oak (Ray Liotta). In this case, nothing is what it seems, agendas are hidden well, and violence constantly simmers just below the surface of every interaction and exchange of dialogue. This is especially the case with Liotta, who gives a staggering career best performance as a cop on the edge of sanity, justifying his heinous actions on the body of his slain friend. No one knows how to lose their cool like Ray, but here he is downright terrifying, a wild eyed monster and the epitome of the guy not to trust, lest you be driven down the same destructive path. Nick uncovers more secrets than he ever wished to know, and it all comes full circle in an angry, pulse rocketing confrontation that serves as one of the best blow ups in the genre, and goes to show you don't need a huge epic gunfight to cap off your story with style and intensity. Carnahan wisely keeps the fireworks man to man, and intimate in nature, proving once again what intuition he has in the director's chair. Chi Mcbride is always reliable, here playing the gruff police captain, and Busta Rhymes proves yet again that he's one of the few rappers who can actually act, giving a pretty damn committed performance as a thug. Liotta owns this one in pure beast mode, but the team effort is what makes it so special, and a crime classic. Carnahan and Co. have done something timeless for crime films, and raised the bar on the intensity level one can attain when everything is in place, and firing on all cylinders. A powerhouse of a film, and a mini masterpiece.

umertanweer Why are some good cop films overtly successful and talked about, whereas some good cop films are forgotten too early? Narc has garnered critical acclaim. It also managed to approximately double it's meager 6.5 million budget. So it is a success, and a pretty decent one. However, I think it should have gained a lot more recognition. Moreover, it should be remembered overtime, just as films like se7en(1995) and Serpico(1973) have. It is a very thorough film, it should be ranked among one of the top in the cop film genre. Ray Liotta and Jason Patrick team up as cops who look to investigate the murder of a fellow undercover cop working in the narcotics department. Hence, as they set on course to investigate, the gritty reality of the drugs arena and the internal corruption in the police department come to surface. Narc is an ideal cop film. It has everything. Fast pace, powerful performances, twists, mystery, edge of seat stuff. From the first frame, the pace of the film is set up. The first scene is the gloomy but edgy chase sequence as Jason Patrick runs breathlessly after a junkie. It is dark and intense. Also, the characters come with their own weaknesses. They are not the typical 'macho' cops. They are struggling with their internal demons throughout their journey into the underbelly. Not only that, they don't get along very well with each other. All of the subplots and backstories of the two protagonists have been connected to the focal plot of the film. All the loose ends have been tied up, hence no loopholes in a somewhat layered plot. All these traits make this an entertaining film. But what makes this film compete with classics is the fact that it is not only entertaining, but it also exposes the grit and dirt. The corruption in the police department and the frailty of those working in the narcotics department is portrayed heavily in the film. So no matter how hard one tries, there is nothing lacking or weak in the film that can be pointed out. It stays true to the genre, it doesn't even try to be anything else, just an outstanding cop film. Ray Liotta and Jason Patrick deliver strong performances. Snappy and dark cinematography match the genre's requirements. It also gives it a "noir" feel. Joe Carnahan's direction is spot on. Much like Ben Affleck's Gone Baby Gone(2007), the ending leaves the main character with a tricky choice. Here, Jason Patrick has a choice to hand in the confession tape or not. Both choices will disadvantage someone unfairly, if he hands in the tape, two junkies will be accused of a murder they did not commit, otherwise Calvess's(the cop whose murder investigation was taking place) widow will stop receiving his pension. It's a question of morals, which the film doesn't spoon- feed or preach explicitly. Hence, the ending is left open ended. Overall, the statement that Narc is a good film is an understatement. It is more than good. It is widely established as just a good 2002 cop film, but it should be remembered as more than that.

Red-Barracuda An undercover narc is suspended from the force when one of his assignments goes violently wrong; he is coaxed back into duty to assist a maverick cop find the killer of a fellow officer.Set in Detroit, Narc is a pretty good example of an ultra- gritty police film. It certainly starts with a bang, with an opening chase scene that ensures proceedings are begun on a highly intense note. It's certainly a dynamic start and it is indicative of the overall approach that the film will take, i.e. one that will aim for grim authenticity. Having said that, it isn't above using cinematic techniques such as split-screen as a means of illustrating a scene, while it is also visually stylised enough to use a washed out blue tint that effectively makes the urban setting seem even more cold and uninviting. The drama in the main focuses on the two detectives in a good cop/bad cop dynamic. Jason Patric is quite broody and withdrawn and Ray Liotta is a live-wire cop who doesn't play by the rules. To a certain extent their characters are a bit clichéd to be perfectly honest but both actors do good enough work with them to make them interesting and believable. But like many films of the police procedural type, it's the central mystery that ultimately keeps things ticking along and there are some decent surprises sprung along the way, including an interesting and effective ending that rounds things off just fine.

cmoyton Beauty truly is in the eye. Yet another movie with a generously high rating for a film which personifies the term over rated.The film tries to mix a contemporary visual style more suited to promotional pop music video with the gritty low down look and feel of far superior 1970's cop dramas. The opening scene is engaging showing how Patric's undercover narcotics cop got fired from the force by means of an accidental shooting while chasing a suspect on foot, with clever use by the director of a hand held camera. Its all downhill from then on i am afraid.Rarely have i been more disinterested in a police procedural than this. The plot involves Patric being reinstated to the force in order to assist fellow detective, Liotta, in solving the murder of another undercover narcotics cop. There is much domestic angst on display as Patric and his wife fall out over his decision to join up again which is really wearing to watch.A tedious reminiscing conversation between Patric and Liotta whist on a stakeout contains the crucial information regarding the films "twist". This plot "revelation" at the films conclusion had me groaning in disbelief at how they couldn't even elevate this mundane fare with something more profound than this. During the whole course of the movie you never feel any empathy for the slain officer. His life story receives air brushed attention touching on corruption and drug addiction. Maybe you like the bursts of violence, or the visual style. For me i became disenfranchised with this after about 15 minutes never to return and thats what i really call criminal.