Seeing that Ray Liotta is one of my favourite actors, I was pretty sure this movie was going to be very good. And it is a good movie. It is dark, well acted and it tells a story of how far some people are willing to go to honour the memory of a friend and colleague. One cop, Nick Tellis, suspended after a stray bullet hits a pregnant woman, is put on a murder investigation of an undercover cop. He teams up with bad ass cop Henry Oak and together they try to solve it. But if everything as it seems? Both lead actors in this movie, Jason Patrick and Ray Liotta, do a great job. You really get the feeling like you are in the movie instead of just watching it. Most of all, the characters are believable and that is so important for a movie like this. If you like thrillers with a dash of action and drama, you will enjoy this movie. I know I did. I rate this movie 7/10
228 Reviews
Good, tough and gritty cop film
rosscinema30 March 2003
This film reminded me of those cop films from the late 60's and 70's like "The Seven Ups" and "The French Connection" but this film is really dark and dirty. One thing that stands out is the cinematography that I'll describe later. Film opens with a cop chasing a suspect into a park and when shots are fired at one another a pregnant woman gets hit. Month's later the force wants him back to work with an older cop and investigate a cop killing. Jason Patric and Ray Liotta star in this film and its directed by Joe Carnahan who employs a very good visual style to an already familiar story. The film has a dark and gritty look about it that suggests a touch of "Film Noir". One scene in particular stands out and its the one where Patric and Liotta are in a cafe having coffee and talking. The scene is dimly lit with both characters seemingly in shadows. It suggests that both are shadowy figures and have something to hide. Carnahan creates a dark mood for the film that I found very effective. Nothing seems forced here and it creates an indelible aura of bleakness. These are the streets that these cops work in everyday and you can understand some of the personality flaws of the characters. Ray Liotta stands out here and its the type of performance that reminds us why Scorsese cast him in "Goodfellas" in the first place. He gained 25 pounds for the role and along with Tom Cruise and a host of others helped produce this film. All the hard work paid off and I hope studios remember him with more work. He's always been a terrific actor and its hard to forget those eyes of his when he sinks his teeth into a role like this. They're was some talk of him being nominated for an Academy award in the supporting category which would be wrong. Both he and Patric are in the film about the same amount of time. They are both starring roles and its not a supporting performance. Some people complained of the dark edge and mood of the film but thats exactly what I liked about it. Well photographed and very well acted, this is a solid cop film that people should check out.
Poignant mystery thriller known for its bad cop plus bad cop pairing
mikepwong30 January 2004
Rating: 8 out of 10. Written and Directed by Joe Carnahan.
Narc is one of the best movies that I have seen in recent months, I rented it several weeks ago from the video store and caught most of it again just last week on a movie channel. This is a story of bad cop and bad cop working together, which is a relief to me since the good cop plus bad cop pairing is too over done. Joe Carnahan shows that he is an extremely talented writer and director.
I have found myself thinking back to this movie several times since seeing it. It has a unique quality and excellent style to it. It also does not hurt to have good writing and directing that was complimented with the great acting of Jason Patric and Ray Liotta.
Jason Patric is Nick Tellis, an undercover narcotics officer. The movie opens with Tellis chasing a drug dealer through backyards and into a park until the chase ends with a shooting, the suspect gets hit, but so does a pregnant woman that was a bystander. The next scene takes place over a year later, and Tellis is in a boardroom meeting with a police board of inquiry. We find out that the pregnant woman that got shot lost her unborn child and that Tellis has been on an administrative leave all this time for over a year. The board offers him a deal, which is to solve the murder of a slain undercover narcotics officer named Michael Calvess. If he solves this murder, he will be fully reinstated with a choice assignment. Tellis storms out of the meeting declining the offer. A police captain played by Chi McBride follows Tellis out the room and is able to convince Tellis to reconsider.
As Tellis starts to investigate the murder, he requests the help of Calvess' former partner Henry Oak played by Ray Liotta. Initially the police captain says that Oak is off limits to the Calvess case and mentions that Oak is unstable. Oak isn't just unstable, he is a brutal cop, and we see a few flashback scenes of Oak viciously beating up suspects. Police Internal Affairs is always on the look out to find Oak guilty of brutality or planting evidence or any of the violations of conduct that Oak is suspected of doing. What allows Oak to continue to roam around like a vigilante is his impressive work record, the majority of Oak's arrests end up with a conviction. Therefore, Tellis is able to get Oak back onto the case.
As we see Tellis and Oak investigate, we see some very unusual characters and a couple of twists to the storyline. Of course Oak is quite brutal and Tellis is okay with using police brutality at times but is sometimes surprised at Oak's actions and methods. The movie ends with some shocking revelations.
Narc was nominated for a Grand Jury Prize at the Sundance Film Festival in 2002. Which is not a surprise since this was a very good film.
Narc is one of the best movies that I have seen in recent months, I rented it several weeks ago from the video store and caught most of it again just last week on a movie channel. This is a story of bad cop and bad cop working together, which is a relief to me since the good cop plus bad cop pairing is too over done. Joe Carnahan shows that he is an extremely talented writer and director.
I have found myself thinking back to this movie several times since seeing it. It has a unique quality and excellent style to it. It also does not hurt to have good writing and directing that was complimented with the great acting of Jason Patric and Ray Liotta.
Jason Patric is Nick Tellis, an undercover narcotics officer. The movie opens with Tellis chasing a drug dealer through backyards and into a park until the chase ends with a shooting, the suspect gets hit, but so does a pregnant woman that was a bystander. The next scene takes place over a year later, and Tellis is in a boardroom meeting with a police board of inquiry. We find out that the pregnant woman that got shot lost her unborn child and that Tellis has been on an administrative leave all this time for over a year. The board offers him a deal, which is to solve the murder of a slain undercover narcotics officer named Michael Calvess. If he solves this murder, he will be fully reinstated with a choice assignment. Tellis storms out of the meeting declining the offer. A police captain played by Chi McBride follows Tellis out the room and is able to convince Tellis to reconsider.
As Tellis starts to investigate the murder, he requests the help of Calvess' former partner Henry Oak played by Ray Liotta. Initially the police captain says that Oak is off limits to the Calvess case and mentions that Oak is unstable. Oak isn't just unstable, he is a brutal cop, and we see a few flashback scenes of Oak viciously beating up suspects. Police Internal Affairs is always on the look out to find Oak guilty of brutality or planting evidence or any of the violations of conduct that Oak is suspected of doing. What allows Oak to continue to roam around like a vigilante is his impressive work record, the majority of Oak's arrests end up with a conviction. Therefore, Tellis is able to get Oak back onto the case.
As we see Tellis and Oak investigate, we see some very unusual characters and a couple of twists to the storyline. Of course Oak is quite brutal and Tellis is okay with using police brutality at times but is sometimes surprised at Oak's actions and methods. The movie ends with some shocking revelations.
Narc was nominated for a Grand Jury Prize at the Sundance Film Festival in 2002. Which is not a surprise since this was a very good film.
A really atmospheric and enjoyable thriller
bob the moo16 February 2004
Over a year after he was suspended during an investigation into a shooting when he was undercover, Nick Tellis is given an opportunity to redeem himself by joining an investigation into the murder of another undercover cop who's partner is a suspect. Nick and Henry Oak team up, investigating each other as much as the actual murder. They follow a lead from a junkie but begin to uncover clues that point to police weapons getting onto the black market and the suggestion that someone within the Detroit force is in bed with the junkies.
A small film with big budget problems gets picked up at Sundance and has Tom Cruise's name added to it as executive producer. Thank goodness that this film got bought up and received a bigger audience. It is a shame that more people didn't go and see it but it still isn't bad for a film that was almost shutdown mid-shoot due to budget problems (ie, they didn't have any!). The plot is a good cop thriller in the mould of the old 70's thrillers where the lines between good/bad, right/wrong are pretty blurred. The focus of the film is the mcguffin of the tunnel - what happened, who did what? but the film is much more than that, it has themes of family and scenes of violence and tension that move everything forward. It is easily one of the best films released in 2003. It manages to take a genre that is seen so often and make it feel fresh and enjoyable.
As both writer and director Carnahan is brilliant. His script is well written and has plenty of tough dialogue but it is the feel and look of the film that is brilliant. On top of the toning used to taint each scene (the job is mostly washed out blues, family scenes are reds but gradually lose their taint over the film) the film uses other tricks. The framing of shots are different for each character and it really adds to the film. If you like this film it is worth hunting out the DVD just for the extras, Carnahan talks in detail about the reasons behind the composition of some shots and it is impressive to hear and understand his thought process.
The cast are excellent, although really the film hinges on the two leads. Liotta is as good as he has ever been. It would be easy to just accept his performance as a `powerhouse' but it also has sensitivity, emotion and layers to it. Patric is also good, his themes with family and past are brought up well in a performance that accepts that he is very much secondary to Liotta. Support from Busta Rhymes is minor but he plays it very well, not at all like many hip hop stars who do movies to enhance their bling-bling gangsta personae. There are other solid support roles too, but it really is Liotta and Patric's film.
As a cop thriller this harks back to darker days and it is very effective, with a solid plot and a good sense of the unknown until some solid twists near the end. The film has an impressive style to it and, while Liotta deserves the praise, the success and feel of this film are down to the skills of Carnahan as both writer and director. With his talented and underpaid crew he has turned a good script into a great film.
A small film with big budget problems gets picked up at Sundance and has Tom Cruise's name added to it as executive producer. Thank goodness that this film got bought up and received a bigger audience. It is a shame that more people didn't go and see it but it still isn't bad for a film that was almost shutdown mid-shoot due to budget problems (ie, they didn't have any!). The plot is a good cop thriller in the mould of the old 70's thrillers where the lines between good/bad, right/wrong are pretty blurred. The focus of the film is the mcguffin of the tunnel - what happened, who did what? but the film is much more than that, it has themes of family and scenes of violence and tension that move everything forward. It is easily one of the best films released in 2003. It manages to take a genre that is seen so often and make it feel fresh and enjoyable.
As both writer and director Carnahan is brilliant. His script is well written and has plenty of tough dialogue but it is the feel and look of the film that is brilliant. On top of the toning used to taint each scene (the job is mostly washed out blues, family scenes are reds but gradually lose their taint over the film) the film uses other tricks. The framing of shots are different for each character and it really adds to the film. If you like this film it is worth hunting out the DVD just for the extras, Carnahan talks in detail about the reasons behind the composition of some shots and it is impressive to hear and understand his thought process.
The cast are excellent, although really the film hinges on the two leads. Liotta is as good as he has ever been. It would be easy to just accept his performance as a `powerhouse' but it also has sensitivity, emotion and layers to it. Patric is also good, his themes with family and past are brought up well in a performance that accepts that he is very much secondary to Liotta. Support from Busta Rhymes is minor but he plays it very well, not at all like many hip hop stars who do movies to enhance their bling-bling gangsta personae. There are other solid support roles too, but it really is Liotta and Patric's film.
As a cop thriller this harks back to darker days and it is very effective, with a solid plot and a good sense of the unknown until some solid twists near the end. The film has an impressive style to it and, while Liotta deserves the praise, the success and feel of this film are down to the skills of Carnahan as both writer and director. With his talented and underpaid crew he has turned a good script into a great film.
nice gritty cop drama
SnoopyStyle13 June 2015
Detroit undercover cop Nick Tellis (Jason Patric) accidentally shoots a pregnant woman who subsequently loses her child during a violent takedown. He is dismissed but he's reinstated 18 months later to investigate the murder of rookie cop Michael Calvess. His wife wants him to do something else. Despite Captain Cheevers (Chi McBride)'s misgivings, Tellis gets Calvess' unstable partner Henry Oak (Ray Liotta) reinstated on the case.
This is a hard-boiled gritty cop drama. Both Patric and Liotta have that hard worn-down edge. It has the violent brutal sense of a dirty underground. It's a throwback to a 70s sensibility of a murky police investigation.
This is a hard-boiled gritty cop drama. Both Patric and Liotta have that hard worn-down edge. It has the violent brutal sense of a dirty underground. It's a throwback to a 70s sensibility of a murky police investigation.
Cerebral Cop Thriller
jvydelingum22 September 2004
The good-cop-bad-cop pairing in movies is so well-worn, that it has practically become a Hollywood institution. Thankfully 'Narc' powerfully smashes the stereotype.
Persuaded back into active service by his bosses, ex narcotics cop Nick Tellis (Jason Patric) finds himself investigating the murder of a fellow officer alongside live-wire new partner Henry Oak (Ray Liotta).
The coupling of Tellis and Oak feels so realistic, you actually understand each character's resentment at being pitched together.
It's this natural mistrust which erases the legacy of Lethal Weapon style buddy relationships, and instead harks back to classic '70s cop movies such as 'Serpico'.
'Narc' bristles with energy, from its heart-stopping hand-held opening chase to its brutal, bloody showdown, all the while framed by cold claustrophobic street scenes.
Director Joe Carnahan probes deep into the characters to discover what drives these men to lay their lives on the line, day in, day out.
It helps that the performance of both leading men is superb. Patric's troubled, introspective Tellis is torn between his loving family and his empathy for the dead undercover cop.
However, it's Liotta - Oak by name, oak by stature - who dominates the film with a career-best performance. Intimidating and brutal but never inhuman, he forces you to remember just how powerful a cinematic presence he can be, given the right material.
'Narc' is a fast-paced, original, gritty thriller that will leave you wanting another fix. 9/10
Persuaded back into active service by his bosses, ex narcotics cop Nick Tellis (Jason Patric) finds himself investigating the murder of a fellow officer alongside live-wire new partner Henry Oak (Ray Liotta).
The coupling of Tellis and Oak feels so realistic, you actually understand each character's resentment at being pitched together.
It's this natural mistrust which erases the legacy of Lethal Weapon style buddy relationships, and instead harks back to classic '70s cop movies such as 'Serpico'.
'Narc' bristles with energy, from its heart-stopping hand-held opening chase to its brutal, bloody showdown, all the while framed by cold claustrophobic street scenes.
Director Joe Carnahan probes deep into the characters to discover what drives these men to lay their lives on the line, day in, day out.
It helps that the performance of both leading men is superb. Patric's troubled, introspective Tellis is torn between his loving family and his empathy for the dead undercover cop.
However, it's Liotta - Oak by name, oak by stature - who dominates the film with a career-best performance. Intimidating and brutal but never inhuman, he forces you to remember just how powerful a cinematic presence he can be, given the right material.
'Narc' is a fast-paced, original, gritty thriller that will leave you wanting another fix. 9/10
Pretty good, but is it worth your time?
bandw2 April 2007
This is yet another entry in the canon of realistic crime dramas where two narcotic detectives team up to pursue a murder case that has gone cold. The murder was that of detective Henry Oak's (Ray Liotta) previous partner. Oaks is joined in the investigation by Nick Tellis (Jason Patric). Both detectives have personal reasons for wanting to solve the case and they pursue it obsessively.
This is not a buddy movie, since Oak and Tellis are more antagonistic toward each other than companionable. There is a remarkable lack or humor - I cannot remember a single instance of comic relief.
To say that we see the seamy side of urban life does not really do justice to what is shown. For example, we spend time (quite a bit of time in fact) in a room with a body in a bathtub that has been putrefying for a couple of weeks. When Tellis sees the headless body he vomits. The scene is filmed in such a way that you easily imagine the stench.
Patric and Liotta are very good in their roles - they create believable characters. The movie is well paced with some engaging camera work (the opening chase scene is a real grabber), and there are a few plot twists to keep your interest.
But, when it was all over I found myself asking the question if there was enough here to make it worth my time and I felt moderately inclined toward a negative answer.
This is not a buddy movie, since Oak and Tellis are more antagonistic toward each other than companionable. There is a remarkable lack or humor - I cannot remember a single instance of comic relief.
To say that we see the seamy side of urban life does not really do justice to what is shown. For example, we spend time (quite a bit of time in fact) in a room with a body in a bathtub that has been putrefying for a couple of weeks. When Tellis sees the headless body he vomits. The scene is filmed in such a way that you easily imagine the stench.
Patric and Liotta are very good in their roles - they create believable characters. The movie is well paced with some engaging camera work (the opening chase scene is a real grabber), and there are a few plot twists to keep your interest.
But, when it was all over I found myself asking the question if there was enough here to make it worth my time and I felt moderately inclined toward a negative answer.
An overlooked gem
philipsavory6 May 2004
Narc is an overlooked gem, a superb cop movie that delivers excellent characters at the expense of needless action.
Jason Patric is an actor I never really rated but he blew me away in this he looks haggard and haunted, you can understand his character completely just from one look in his eyes. Despite Patric's efforts he is surpassed by a career best turn from Ray Liotta, who is menacing and cool at the same time.
Kudos for Joe Carnahan for balancing style with substance perfectly, and the opening to the film is one of the best i've ever seen. This film exudes purity and class, and Carnahan directs with no pressure. I look forward to his next film.
I don't wish to reveal anything on this film because it's best that you just see it cold but fans of Copland or Dark Blue should love this. 9/10
Jason Patric is an actor I never really rated but he blew me away in this he looks haggard and haunted, you can understand his character completely just from one look in his eyes. Despite Patric's efforts he is surpassed by a career best turn from Ray Liotta, who is menacing and cool at the same time.
Kudos for Joe Carnahan for balancing style with substance perfectly, and the opening to the film is one of the best i've ever seen. This film exudes purity and class, and Carnahan directs with no pressure. I look forward to his next film.
I don't wish to reveal anything on this film because it's best that you just see it cold but fans of Copland or Dark Blue should love this. 9/10
Easy Plot to Figure Out
whpratt113 April 2006
Great acting in this film about a washed up detective with a wife who never seemed to stop nagging him about almost anything. The wife complained about how dangerous his job was as a cop and just about everything he seemed to do for her and his constant crying child. This unfortunate cop is asked to do some desk work and research on a cold case and he gets deeply involved with all kinds of problems, beaten up almost into a pulp. As the story unfolds, you can guess immediately just who the bad guy is and the plot is really an old story. However, I must say all the actors did a fantastic job. Rather long and drawn out and not really the greatest of films.
One to see!
fake_plastic_trees_3 October 2005
I stumbled across this film by accident in the misfortune of losing my sky remote. I soon found out that losing my remote was in fact one of the best things i had done that day because i got to see NARC. I had never heard any mention of this film before but decided to sit and watch it never the less. In the first few minutes i was gripped ( as i was throughout the rest of the movie)
When i watch a film i don't look at it the way an average film watcher would. I look at every aspect of the film, cinematography, soundtrack, acting, choice of actors and so on...you get what i mean. I look for flaws in movies (as bad as this sounds) but with NARC i struggled to find any. The acting by both Jason Patric and Ray Liotta blew me away. Even the supporting actors were amazing.
This film has twists. It'll have you believing one thing and then moments later you're back in the dark again...I love films that can do this.
It's one of those film that i wanted to tell everyone about after i had seen it. So i hope that expresses how good i think this film is! :)
So basically what i am saying is watch this film!!!
Hope this was helpful!
When i watch a film i don't look at it the way an average film watcher would. I look at every aspect of the film, cinematography, soundtrack, acting, choice of actors and so on...you get what i mean. I look for flaws in movies (as bad as this sounds) but with NARC i struggled to find any. The acting by both Jason Patric and Ray Liotta blew me away. Even the supporting actors were amazing.
This film has twists. It'll have you believing one thing and then moments later you're back in the dark again...I love films that can do this.
It's one of those film that i wanted to tell everyone about after i had seen it. So i hope that expresses how good i think this film is! :)
So basically what i am saying is watch this film!!!
Hope this was helpful!
Good acting but depressing to watch.
daleerbadiei3 August 2003
I'm not going to say that the acting in this movie is bad because it's not. In fact, both Jason Patrick and Ray Liotta give stellar emotionally charged performances. However, when I was done watching this, I found myself in a kind of depressed slump. I guess that's what they were shooting for so maybe it succeeds in a way. For me though, if you spend a couple hours of your life watching a movie, you should get at least a little enjoyment out of it, which I didn't. If you enjoy being depressed, watch this movie. 5/10
Smokin (not aces)
kosmasp15 September 2010
Can you believe that the guy who did this, made Smokin Aces? And the "A-Team" cinema outing? Watching this, you never would have guessed. But yes it's the same guy. And while he got a performance of a lifetime out of Jason Patric (strangely enough, after this there was no big buzz surrounding him, which he would have more than earned in my eyes), you expect a stellar performance by someone like Liotta.
What you are not really expecting (especially if you have seen Smoking Aces or A-Team before you watch this), is the way it was shot. Very documentary style and very raw. But also very naturalistic and very good. It's a powerful watch and something that might stay with you, after you watch it. All the ingredients are mixed together in a great way, even with a very small budget. Which in that case was not seen as obstacle, but was used to the movies advantage!
What you are not really expecting (especially if you have seen Smoking Aces or A-Team before you watch this), is the way it was shot. Very documentary style and very raw. But also very naturalistic and very good. It's a powerful watch and something that might stay with you, after you watch it. All the ingredients are mixed together in a great way, even with a very small budget. Which in that case was not seen as obstacle, but was used to the movies advantage!
Grim Psycho Drama Let Down Slightly By The Ending
Theo Robertson22 January 2010
Warning: Spoilers
There seems to be a major difference between American crime dramas and British ones . In Britain the story is constructed around who is the murderer and why they did it . In America this is mostly confined to television with such things as COLUMBO and MURDER SHE WROTE . Instead American cinematic films concern themselves more with an introspective journey through the detective's mind . NARC continues this tradition and does it grimly . Perhaps too grimly
Undercover cop Nick Tellis finds himself in hot water after a bust leaves one bystander dead and another seriously injured . Wanting an easier life he dreams of getting a cushy desk job and the only way he'll achieve this is is by cracking the case involving a murdered cop , so he becomes a " narc " slang for an undercover cop
A simple enough premise and perhaps fearful that it's too simple he tries to make everything as bleak , nihilistic and depressing as possible . He succeeds . Everything is shot in cold tones and you'll feel yourself shivering in the cold . cloudy landscapes . All the characters including Tellis himself match the cold , ugly visuals
This is certainly hard hitting stuff and much better than director Joe Carnahan's later SMOKIN' ACES which was an over the top mess . Unfortunately Carnahan the screenwriter show's his later flaws by including one twist too many with the story climax . Tellis and partner Henry Oak arrest the two suspects . Oak tries to beat a confession out of them while Tellis watches . Oak then leaves the scene where the suspects claim Oak killed the undercover cop . Oak comes back , Tellis leaves and ... well let's just say the film at this point gets a bit too contrived
This lets the film down slightly . NARC isn't for everyone but Jason Patric as Tellis conveys convincingly a man doing a dangerous and thankless task . Best performance however belongs to Ray Liotta as Oak and I'd forgotten just how good he can be if he gets the right film Perhaps the fact he appears in rubbish like SMOKIN' ACES doesn't help his cause and hopes after that movie both Liotta and Carnahan deserve a second chance
Undercover cop Nick Tellis finds himself in hot water after a bust leaves one bystander dead and another seriously injured . Wanting an easier life he dreams of getting a cushy desk job and the only way he'll achieve this is is by cracking the case involving a murdered cop , so he becomes a " narc " slang for an undercover cop
A simple enough premise and perhaps fearful that it's too simple he tries to make everything as bleak , nihilistic and depressing as possible . He succeeds . Everything is shot in cold tones and you'll feel yourself shivering in the cold . cloudy landscapes . All the characters including Tellis himself match the cold , ugly visuals
This is certainly hard hitting stuff and much better than director Joe Carnahan's later SMOKIN' ACES which was an over the top mess . Unfortunately Carnahan the screenwriter show's his later flaws by including one twist too many with the story climax . Tellis and partner Henry Oak arrest the two suspects . Oak tries to beat a confession out of them while Tellis watches . Oak then leaves the scene where the suspects claim Oak killed the undercover cop . Oak comes back , Tellis leaves and ... well let's just say the film at this point gets a bit too contrived
This lets the film down slightly . NARC isn't for everyone but Jason Patric as Tellis conveys convincingly a man doing a dangerous and thankless task . Best performance however belongs to Ray Liotta as Oak and I'd forgotten just how good he can be if he gets the right film Perhaps the fact he appears in rubbish like SMOKIN' ACES doesn't help his cause and hopes after that movie both Liotta and Carnahan deserve a second chance
been there, done that
wilbrifar30 December 2002
All the flash-frames, jump-cuts, and jerky hand-held camera moves in the world can't disguise the fact that this is strictly another lesson in Cop Clichés 101. From the "nothing is what it seems" investigation to the cop's wife who annoyingly whines stuff like, "I can't stand by and watch you do this to yourself again!", there's a "been there, done that" smell to the whole film that no amount of faux "edginess" can cover up. And speaking of that "edginess", when are filmmakers going to just calm down and tell us a story that makes sense, instead of just trying to hide their shortcomings in an avalanche of hackneyed stylistic fetishes? I saw a review on here someplace comparing this film with the best work of Lumet and Freidkin. I wouldn't say that aloud in a room with either of those guys if I were you.
Incredible
Identification6 November 2004
Narc was very, very fast-paced, and at times a little hard to follow... but whatever confusion I felt only added to the stark surrealism of the story. Shots of blue and gray and black, full of dark lines and sharp corners while always real somehow appeared to be strange and deep and profound. The story is gritty, filthy realism--- but I felt as though I were stepping into a completely amazing hallucination.
The acting and everything is brilliant but what really gets me is how well the feelings and the visual come together. The realism and blood becomes something deeply emotional.
I recommend it... unless you want to be all happy and sunny, in which case Narc is not for you.
The acting and everything is brilliant but what really gets me is how well the feelings and the visual come together. The realism and blood becomes something deeply emotional.
I recommend it... unless you want to be all happy and sunny, in which case Narc is not for you.
Polished example of cop film
rmax30482324 March 2005
Warning: Spoilers
Just think about how far we've come in the years since "The New Centurions," when it had to be explained to us that police officers could have problems at home and were sometimes imperfect in the execution of their jobs.
There may be drearier locations to film in than the ones dug up for this film but it's hard to imagine what they'd look like. The two edgy partners seem to be constantly framed by the graffiti painted on the peeling walls behind them. But, in any case, these two cops are pretty fully worked out characters instead of the usual cartoons -- Danny Glover and Mel Gibson, Clint Eastwood and whoever. Jason Patric wears his guilt on his sleeve, while Ray Liotta desperately covers his own with a cloak of anger. Patric, while nobody's idea of a sissy, looks like the kind of guy who, freshly deloused and properly whipped into submission, could be turned into a priest. There is no such possibility for Liotta. With his elevator shoes, extra poundage and ursine presence, the best he could hope for would be a spot in the zoo.
This isn't a great movie but it's a relatively good one. When people get whacked with a gun butt they fall down and bleed, and they have trouble getting back on their feet. The language is that of the streets. You never feel that the writers, the director, or the performers think they's doing something outre in so often using -- well, let's call them the "f" word and the "m" word. Cussing comes as casually to these guys as it does to guests at a hip cocktail party.
But I don't mean to suggest that the movie is a sellout. This is not a blood and brains fest. A few shots are fired on screen (and some in which we are even deprived of the bullet's impact) but not a big show is made of them. There is no real climactic shootout and no high-speed pursuit ending in a flaming fireball. There is some taste being exhibited on the screen. Kids who enjoy seeing someone's head rolling in the gutter will walk away disappointed.
It's rather well done, in the end, with some surprising twists. It's a cop movie -- and it avoids being bad. I mean that as a compliment.
There may be drearier locations to film in than the ones dug up for this film but it's hard to imagine what they'd look like. The two edgy partners seem to be constantly framed by the graffiti painted on the peeling walls behind them. But, in any case, these two cops are pretty fully worked out characters instead of the usual cartoons -- Danny Glover and Mel Gibson, Clint Eastwood and whoever. Jason Patric wears his guilt on his sleeve, while Ray Liotta desperately covers his own with a cloak of anger. Patric, while nobody's idea of a sissy, looks like the kind of guy who, freshly deloused and properly whipped into submission, could be turned into a priest. There is no such possibility for Liotta. With his elevator shoes, extra poundage and ursine presence, the best he could hope for would be a spot in the zoo.
This isn't a great movie but it's a relatively good one. When people get whacked with a gun butt they fall down and bleed, and they have trouble getting back on their feet. The language is that of the streets. You never feel that the writers, the director, or the performers think they's doing something outre in so often using -- well, let's call them the "f" word and the "m" word. Cussing comes as casually to these guys as it does to guests at a hip cocktail party.
But I don't mean to suggest that the movie is a sellout. This is not a blood and brains fest. A few shots are fired on screen (and some in which we are even deprived of the bullet's impact) but not a big show is made of them. There is no real climactic shootout and no high-speed pursuit ending in a flaming fireball. There is some taste being exhibited on the screen. Kids who enjoy seeing someone's head rolling in the gutter will walk away disappointed.
It's rather well done, in the end, with some surprising twists. It's a cop movie -- and it avoids being bad. I mean that as a compliment.
A s real as Hollywood gets.
MaxDM19 July 2019
Everyday I get asked if their was ever a movie that really portrays reality of a day in the life of a cop. Negating the fact that every individuals life experiences are unique to them, the events in Narc is about as real as it gets. There is no event shown that I had not seen or done in my 20 years. The real kicker is how the show captures the the culture of crooks against cops, the daily grind, the raw emotions experienced from the repetitive trauma the thankless cop endures to perform his servitude to the good people he protects. It is these emotions that are so brilliantly captured that make this the best police movie to date. It also highlights why the mental illness and suicide rates in modern policing are today so common.
Feels somewhat obligatory for most of the time but remains somewhat interesting and gritty throughout.
johnnyboyz9 October 2008
Narc is a safe film; a safe film in the sense it retreads familiar territory but that territory is usually pleasurable if you're a fan of the genre although for everyone else it's a cliché. Take the romance genre or the sports genre in which an underdog is involved. If you like the genre and the route they usually go down when dealing with formulas, chances are you'll like the film if not then it's a dead zone. Narc for a lot of people, I'm sure, will disappoint on the level of familiarity and that odd visual element it carries; closely resembling an American cop serial TV programme. For others and fans of the genre, it will be a nice time passer as was the case for me.
I think the film will definitely hit a nerve with anyone male between the ages of thirty-five and forty-five and who have a family of their own. Narc is a very male orientated film about tough guys with big egos doing manly things in a job that requires you prove yourself everyday, that job being an undercover policeman. The film revolves around Detective Sergeant Nick Tellis (Patric), a man with a prior tragedy in the sense he shot a pregnant woman who then miscarried following a chase and a shooting, and his life following a case with fellow cop Detective Lieutenant Henry Oak (Liotta).
The reason I say it may appeal more to males in their 30s and 40s is the manner in which it gets across a person of this age in a working class life. Tellis is a family man; a wife and a young child are there to keep him company and the manner in which the film approaches its material sees a couple of scenes dedicated to family life as well as all the problems that might come with it. These include family rows between partners as the baby cries; sharing intimate scenes with the other half and the fact the film presents it protagonist in Tellis not as a young, hotshot cop but as a weary veteran; someone who knows their job well and mus balance it with home life. Certainly the opening scene that plunges the viewer straight into chaos and tragedy before they get a chance to figure where they are or what's going on adds to the effectiveness it might have on the target audience.
Likewise, if the said male in that age bracket watches a lot of television, particularly serials in the crime genre then they really will be hooked. Personally, I don't fall into any of the above and to me the film comes across as a typical, fast paced cop thriller with all the usual conventional content. As characters on screen together; Tellis and Oak play that good cop, bad cop partnership but they play it well. Note when I said fans of the genre may lap it up, others will be disappointed that they're being given more of the same they recognise. Along with this, you get the usual portrayals of young, Hispanic men all up to their eyebrows in drugs of some shape or form which again feels familiar to the veteran viewer but will suffice for most out for something merely entertaining.
It seems the film is about smart and experienced men, in a job that requires a fair amount of ruthlessness, falling out with society around them. As characters, Oaks and Tellis are both white Caucasian Americans in an ever-changing world of ethnicities. They fight the drugs imported from around the world and handled by Hispanics and African Americans in a fashion that is gritty and handled well but familiar to mostly everyone. But it does focus on the domestic sides of things as well; Tellis obviously with his marriage that gradually falls apart and after a while, Oaks reveals something about his past to do with relationships and marriage which brings a subtle amount of humanity to his character just when required.
There is a definite sense of urgency in Narc, aided by the camera work and editing. The film is lit in an odd, glowing manner bringing out the whites and, at times, greys that complement the rough, metallic atmosphere. The fact there is a lot of snow around at other times aids in getting across a cold atmosphere, both in temperature and character mindset. But the film cannot seem to nail being anything fantastic or particularly outstanding. The plot points that lead up to a possible betrayal in the force later on are fine but I didn't feel the punch I was maybe supposed to, it didn't come across as effective enough; certainly when you have a criminal basically trying to bargain his way out of being executed by giving a lead character the 'truth' as to what's actually going on.
Narc cannot help looking like a made for TV film because it is trying to get across that feeling anyway. The popularity of television serials and fast paced thrillers have become ridiculous very recently what with the Bourne films getting more recognition than they deserve but Narc predates those films and is better than some of the Bourne outings. For what it's worth, Narc is an interesting at times and touching at others film that doesn't outstay its welcome but leaves you satisfied with the journey, even if it is very familiar overall.
I think the film will definitely hit a nerve with anyone male between the ages of thirty-five and forty-five and who have a family of their own. Narc is a very male orientated film about tough guys with big egos doing manly things in a job that requires you prove yourself everyday, that job being an undercover policeman. The film revolves around Detective Sergeant Nick Tellis (Patric), a man with a prior tragedy in the sense he shot a pregnant woman who then miscarried following a chase and a shooting, and his life following a case with fellow cop Detective Lieutenant Henry Oak (Liotta).
The reason I say it may appeal more to males in their 30s and 40s is the manner in which it gets across a person of this age in a working class life. Tellis is a family man; a wife and a young child are there to keep him company and the manner in which the film approaches its material sees a couple of scenes dedicated to family life as well as all the problems that might come with it. These include family rows between partners as the baby cries; sharing intimate scenes with the other half and the fact the film presents it protagonist in Tellis not as a young, hotshot cop but as a weary veteran; someone who knows their job well and mus balance it with home life. Certainly the opening scene that plunges the viewer straight into chaos and tragedy before they get a chance to figure where they are or what's going on adds to the effectiveness it might have on the target audience.
Likewise, if the said male in that age bracket watches a lot of television, particularly serials in the crime genre then they really will be hooked. Personally, I don't fall into any of the above and to me the film comes across as a typical, fast paced cop thriller with all the usual conventional content. As characters on screen together; Tellis and Oak play that good cop, bad cop partnership but they play it well. Note when I said fans of the genre may lap it up, others will be disappointed that they're being given more of the same they recognise. Along with this, you get the usual portrayals of young, Hispanic men all up to their eyebrows in drugs of some shape or form which again feels familiar to the veteran viewer but will suffice for most out for something merely entertaining.
It seems the film is about smart and experienced men, in a job that requires a fair amount of ruthlessness, falling out with society around them. As characters, Oaks and Tellis are both white Caucasian Americans in an ever-changing world of ethnicities. They fight the drugs imported from around the world and handled by Hispanics and African Americans in a fashion that is gritty and handled well but familiar to mostly everyone. But it does focus on the domestic sides of things as well; Tellis obviously with his marriage that gradually falls apart and after a while, Oaks reveals something about his past to do with relationships and marriage which brings a subtle amount of humanity to his character just when required.
There is a definite sense of urgency in Narc, aided by the camera work and editing. The film is lit in an odd, glowing manner bringing out the whites and, at times, greys that complement the rough, metallic atmosphere. The fact there is a lot of snow around at other times aids in getting across a cold atmosphere, both in temperature and character mindset. But the film cannot seem to nail being anything fantastic or particularly outstanding. The plot points that lead up to a possible betrayal in the force later on are fine but I didn't feel the punch I was maybe supposed to, it didn't come across as effective enough; certainly when you have a criminal basically trying to bargain his way out of being executed by giving a lead character the 'truth' as to what's actually going on.
Narc cannot help looking like a made for TV film because it is trying to get across that feeling anyway. The popularity of television serials and fast paced thrillers have become ridiculous very recently what with the Bourne films getting more recognition than they deserve but Narc predates those films and is better than some of the Bourne outings. For what it's worth, Narc is an interesting at times and touching at others film that doesn't outstay its welcome but leaves you satisfied with the journey, even if it is very familiar overall.
Great gritty movie that stands above the average genre attempts.
Boba_Fett113825 May 2008
What makes "Narc" better than the average current day genre attempt is that It tries to recapture the things that made cop-movies from the '70's so great to watch. It's gritty and realistic with all of its things. The story, the characters, basically everything. It doesn't try to hide anything or make things seem better than they are. It also picks a more personal approach by showing how the undercover life affects the personal lives of those involved with it. The movie is kind of done in the same style as "Training Day" of one year earlier, so if you liked that movie, this is also a movie for you to watch.
Even though the story and way it progresses seemed rather predictable to me, it still works out powerful due to the approach of the movie. Joe Carnahan made a great movie. Sort of too bad that he is still waiting for his big breakthrough by the general crowd but with movies such as "Killing Pablo", with Christian Bale and Javier Bardem in the main leads, this only seems like a matter of time. Also the fact that this movie was very low budget and filmed within a month shows that Joe Carnahan truly has talent and makes his accomplishment with this movie seem all the more amazing.
Also the acting makes this movie a real great one. Jason Patric is a great actor but he has made some bad movie choices in his career, which still causes him to be less known and appreciate as for instance Mark Wahlberg or Ethan Hawke, who play in the same type of movies and play the same kind of roles. Of course the movie also really benefits from the presence of Ray Liotta. Which other actor is better to play a tough 'bad' cop?
Its atmosphere and style of film-making mostly causes this movie to work out as powerful and effective as it does. "Narc" is perhaps not the most original or best written genre movie around but it nevertheless remains a perfectly great viewing because of its style and approach, combined with some fine acting performances.
8/10
http://bobafett1138.blogspot.com/
Even though the story and way it progresses seemed rather predictable to me, it still works out powerful due to the approach of the movie. Joe Carnahan made a great movie. Sort of too bad that he is still waiting for his big breakthrough by the general crowd but with movies such as "Killing Pablo", with Christian Bale and Javier Bardem in the main leads, this only seems like a matter of time. Also the fact that this movie was very low budget and filmed within a month shows that Joe Carnahan truly has talent and makes his accomplishment with this movie seem all the more amazing.
Also the acting makes this movie a real great one. Jason Patric is a great actor but he has made some bad movie choices in his career, which still causes him to be less known and appreciate as for instance Mark Wahlberg or Ethan Hawke, who play in the same type of movies and play the same kind of roles. Of course the movie also really benefits from the presence of Ray Liotta. Which other actor is better to play a tough 'bad' cop?
Its atmosphere and style of film-making mostly causes this movie to work out as powerful and effective as it does. "Narc" is perhaps not the most original or best written genre movie around but it nevertheless remains a perfectly great viewing because of its style and approach, combined with some fine acting performances.
8/10
http://bobafett1138.blogspot.com/
The Things Blue Will Do For Each Other
view_and_review26 January 2022
Warning: Spoilers
"Narc" started with a narcotics officer named Nick Tellis (Jason Patric) chasing a perp. The perp grabbed a man, presumably as a shield or as a hostage, then thought better of it, injected the bystander with one of the two needles in his hand and kept running. The bystander fell to the ground writhing in pain. Tellis briefly checked on the injected man and kept chasing.
Next the perp grabbed a child, again as a hostage or shield, and with his last remaining needle he placed it up to the child's neck. Tellis, who was still pursuing on foot, began firing his weapon at the perp while running. Miraculously, he shot the perp while missing the child, although he did hit the child's mother and caused her to lose her unborn child.
Not much later Tellis is in front of a review board. The three person panel asked him about the incident. Tellis, to prove that the board was beneath him, asked the typical question, "Have you ever been a narc?" The answer was no. Then he said, "You can go bleep yourself." Then he walked off with his pension. We know he got back into being a detective, but the first ten minutes of this movie put a bad taste in my mouth.
On what continent is firing at a suspect, who's holding a child, while you're running, procedurally OK. How was that not a fireable offense at minimum, or a jailable offense at medium?
This was to be our protagonist. He was reinstated to do police work because they needed someone from the narc unit to help investigate the murder of a cop. He partnered with Det. Henry Oak (Ray Liotta), who was also a piece of work. He liked to beat up on suspects who were women and child abusers--beatings that all fair minded people would agree to. But of course that puts the sanctimonious cop in the position of being judge, jury, and executioner. Furthermore, if he's a loose cannon like that, what's to say he wasn't doing other extrajudicial things in the name of the law.
With these two unworthy and unpredictable cops on an investigation about a murdered cop you can be sure that they were going to be kicking down doors and knocking heads. They did exactly that while each line they crossed seemed to be justified because they were violating drug dealers anyway. Who cares about crooks right?
Tellis ended up being the better of the two wildcards as he prevented Oak from murdering two drug dealers who he knew didn't kill the cop. After all the head knocking and threatening, we find out that the murdered cop committed suicide. He was so hooked on drugs he was selling police guns and badges to get a fix. To protect his "good" name, Oak was going to pin the suicide on two drug dealers and then murder them to clean it all up. The things Blue will do for each other.
Next the perp grabbed a child, again as a hostage or shield, and with his last remaining needle he placed it up to the child's neck. Tellis, who was still pursuing on foot, began firing his weapon at the perp while running. Miraculously, he shot the perp while missing the child, although he did hit the child's mother and caused her to lose her unborn child.
Not much later Tellis is in front of a review board. The three person panel asked him about the incident. Tellis, to prove that the board was beneath him, asked the typical question, "Have you ever been a narc?" The answer was no. Then he said, "You can go bleep yourself." Then he walked off with his pension. We know he got back into being a detective, but the first ten minutes of this movie put a bad taste in my mouth.
On what continent is firing at a suspect, who's holding a child, while you're running, procedurally OK. How was that not a fireable offense at minimum, or a jailable offense at medium?
This was to be our protagonist. He was reinstated to do police work because they needed someone from the narc unit to help investigate the murder of a cop. He partnered with Det. Henry Oak (Ray Liotta), who was also a piece of work. He liked to beat up on suspects who were women and child abusers--beatings that all fair minded people would agree to. But of course that puts the sanctimonious cop in the position of being judge, jury, and executioner. Furthermore, if he's a loose cannon like that, what's to say he wasn't doing other extrajudicial things in the name of the law.
With these two unworthy and unpredictable cops on an investigation about a murdered cop you can be sure that they were going to be kicking down doors and knocking heads. They did exactly that while each line they crossed seemed to be justified because they were violating drug dealers anyway. Who cares about crooks right?
Tellis ended up being the better of the two wildcards as he prevented Oak from murdering two drug dealers who he knew didn't kill the cop. After all the head knocking and threatening, we find out that the murdered cop committed suicide. He was so hooked on drugs he was selling police guns and badges to get a fix. To protect his "good" name, Oak was going to pin the suicide on two drug dealers and then murder them to clean it all up. The things Blue will do for each other.
The only thing you need to know about me is that I'm gonna bag the mothers who killed Mike.
hitchcockthelegend11 July 2012
Narc is written and directed by Joe Carnahan. It stars Ray Liotta, Jason Patric, Chi McBride, Busta Rhymes and Richard Chevolleau. Music is scored by Cliff Martinez and cinematography by Alex Nepomniaschy.
After being suspended from the Detroit police force following an undercover drug bust gone horribly wrong, undercover narcotics officer Nick Tellis (Patric) is coerced back into active duty to see if he can help crack the case of a mysteriously slain fellow officer. Paired with the victim's volatile ex-partner, Henry Oak (Liotta), Tellis tries to hold it together as the case grows ever more complex the deeper he gets.
Don't tune into this one if you want cartoon action and good cop/bad cop laughs, this is a perpetual downer, stripped to the bone, it's a portrait of damaged people in a shabby part of Detroit. The investigation is standard formula stuff, but it's with the characterisations, and the attention to detail of said characters, that lifts this to near classic status. Grit and grime rule the day, with the violence never gratuitous and pulsing with intensity. The mystery element of the case is strong, we constantly wonder what happened as we trawl through the avenues of red herrings and streets populated with scummy characters, but nicely Carnahan has us primarily concerned with what happens to Tellis and Oak as opposed to the slain copper they are investigating. Carnahan breaks free from the sub-Tarrantino mimicry taunts that had landed his way previously, to produce a daring film visually, with kinetic hand held camera work, split-screens and washed out colours, all aiding the narrative, keeping this always as a gripping tale of substance.
It's not perfect, the wife is too standard, some loose ends dangle from the finale, but backed by two exemplary performances from Liotta and Patric, both never better, Narc goes way above cliché to hold in a grip throughout. 8/10
After being suspended from the Detroit police force following an undercover drug bust gone horribly wrong, undercover narcotics officer Nick Tellis (Patric) is coerced back into active duty to see if he can help crack the case of a mysteriously slain fellow officer. Paired with the victim's volatile ex-partner, Henry Oak (Liotta), Tellis tries to hold it together as the case grows ever more complex the deeper he gets.
Don't tune into this one if you want cartoon action and good cop/bad cop laughs, this is a perpetual downer, stripped to the bone, it's a portrait of damaged people in a shabby part of Detroit. The investigation is standard formula stuff, but it's with the characterisations, and the attention to detail of said characters, that lifts this to near classic status. Grit and grime rule the day, with the violence never gratuitous and pulsing with intensity. The mystery element of the case is strong, we constantly wonder what happened as we trawl through the avenues of red herrings and streets populated with scummy characters, but nicely Carnahan has us primarily concerned with what happens to Tellis and Oak as opposed to the slain copper they are investigating. Carnahan breaks free from the sub-Tarrantino mimicry taunts that had landed his way previously, to produce a daring film visually, with kinetic hand held camera work, split-screens and washed out colours, all aiding the narrative, keeping this always as a gripping tale of substance.
It's not perfect, the wife is too standard, some loose ends dangle from the finale, but backed by two exemplary performances from Liotta and Patric, both never better, Narc goes way above cliché to hold in a grip throughout. 8/10
Peep This Reviews
newblu9 July 2017
An overlooked gritty realistic police drama. Phenomenal acting with stylistic violence all wrapped up in a package that daringly blurs the line of right and wrong in regards to law enforcement. An engrossing thriller that keeps your eyes glued to the screen. Unique and engrossing visual style helps to escalate it even more.
Very underrated thriller
sickofenjoyingmyself31 January 2016
Warning: Spoilers
I only recently watched Narc even although I had it on my radar for a number of years. It was definitely worth waiting for! The acting is first class from Ray Liotta and Jason Patric was particularly impressive in his role as a returning detective who confronts old demons at the potential expense of all he has. His performance was vaguely reminiscent of William Peterson's fantastic haunted detective in 'Manhunter'. Witnessing such a troubled, flawed yet ultimately good character gave the entire story line serious depth and left you guessing right up until the climax about how it was all going to pan out. Great as a thriller - high impact acting performances and an intricate story line makes this one of those underrated gems that are so satisfying to unearth.
Not pretty, but it is riveting
Mr-Fusion14 June 2023
I've read several mentions of William Friedkin with regard to "Narc" and I concur, his fingerprints are all over this movie. I kept thinking of "French Connection" and "To Live and Die in L. A." all throughout the running time.
"Narc" isn't gritty, it is downright bleak. Even if they hadn't shot this in snowy Detroit, it'd still feel cold as hell. As a police procedural, it's pretty standard (the thin line between cop and criminal, etc.) and you settle in thinking you seen this all before . . . And then here comes the twisty third act, redefining the whole story, and you're just left there at the end, trying to get your bearings. There's no gloss here, and while it's not a movie I can watch everyday, my eyes were glued to the very end.
"Narc" isn't gritty, it is downright bleak. Even if they hadn't shot this in snowy Detroit, it'd still feel cold as hell. As a police procedural, it's pretty standard (the thin line between cop and criminal, etc.) and you settle in thinking you seen this all before . . . And then here comes the twisty third act, redefining the whole story, and you're just left there at the end, trying to get your bearings. There's no gloss here, and while it's not a movie I can watch everyday, my eyes were glued to the very end.
Big scenes, no logic.
We Have Six Feet10 January 2003
Warning: Spoilers
This is the kind of movie written so actors can have Big Scenes full of shouting and emotion. But the story logic falls apart the moment you look at it closely. It's hard to get involved in a story when the filmmakers shred human emotional reality so they can have big film moments. It's the kind of movie where the cops never call for backup. No one seems ever to have asked "what would a guy in this situation actually DO?"
SPOILER
For example - if I think my partner is dirty and probably homicidal - do I tell him I'm onto him when we're alone, far away from witnesses, and he's stressed and wielding a shotgun? I do not. I call for backup and stay away from him! Oy yoy yoy.
SPOILER
For example - if I think my partner is dirty and probably homicidal - do I tell him I'm onto him when we're alone, far away from witnesses, and he's stressed and wielding a shotgun? I do not. I call for backup and stay away from him! Oy yoy yoy.
See also
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