While it sounds like a cliché, every cop goes to work with the knowledge that this could be `The' day - they could get shot pulling over a speeder, stabbed responding to a domestic dispute or killed in a high speed chase. Consequently nothing galvanizes a cop more than one of their own going down in the line of duty and investigators are often willing to bend the rules to get their man. For others capturing the guilty party and securing a jail sentence isn't what they have in mind.
As an undercover narcotics officer Nick Tellis' job is to immerse himself in the hazy netherworld of drug dealers and junkies. Unfortunately for Nick, he took the work to heart, and after sampling one too many products made a fatal judgement call and was thrown off the force. When the murder investigation of an undercover agent goes cold, Nick is asked to use his street connections to see if they can provide some leads. He teams up with Henry Oaks - the dead cop's partner the man most familiar with the case, who was initially banned from the investigation for his bull-in-the-China-shop approach.
For many people Jason Patric is probably best remembered as the man that supposedly broke up the intended nuptials between Julia Roberts and Kiefer Sutherland. It is interesting that his most recent `breakthrough' should be playing another narc after his brilliant work in `Rush' over a decade ago. Patric makes the role his own and is not afraid to look shabby and wrung out, as he plumbs the depths of his character and tries to realign his moral compass. Although he stumbles along the way, he never loses sight of his goal. He receives solid backup.
Ray Liotta, known for his congenial bad guys, is decidedly low key (for him) as Henry and turns in one of his best performances (there have already been Oscar rumblings). Henry is a cop's cop and the embodiment of the classic 70's cop a gritty no nonsense renegade with no stomach for bureaucracy, who wants to be left alone to do his job. In addition to Liotta's trademark steely gaze, Henry has the benefit of being physically intimidating (in part courtesy of padding which they forgot in one scene) and will not hesitate to lash out if he feel the situation demands it.
The editing techniques used in the film sometimes seem to be at odds: the split screen shots coupled with some flashy editing that scream `Hollywood!' are offset by the blue-tinged gritty flair that dominates the bulk of the film and give it a seedy realistic feel. The film is also hard to watch at times, both literally - the all too familiar bouncing camera shots - and emotionally - the opening salvo that documents why Nick's initial downfall and the demise of the undercover cop.
In spite of the great acting and film work, Narc could easily have joined the pantheon of virtually indistinguishable good cop/bad cop movie-of-the-week films that are quickly forgotten. It escapes this fate thanks to deft writing and a clever twist that questions the very concepts of guilt, innocence and justice, and in the process turning a six star video rental into an eight and half star big screen must see.
As an undercover narcotics officer Nick Tellis' job is to immerse himself in the hazy netherworld of drug dealers and junkies. Unfortunately for Nick, he took the work to heart, and after sampling one too many products made a fatal judgement call and was thrown off the force. When the murder investigation of an undercover agent goes cold, Nick is asked to use his street connections to see if they can provide some leads. He teams up with Henry Oaks - the dead cop's partner the man most familiar with the case, who was initially banned from the investigation for his bull-in-the-China-shop approach.
For many people Jason Patric is probably best remembered as the man that supposedly broke up the intended nuptials between Julia Roberts and Kiefer Sutherland. It is interesting that his most recent `breakthrough' should be playing another narc after his brilliant work in `Rush' over a decade ago. Patric makes the role his own and is not afraid to look shabby and wrung out, as he plumbs the depths of his character and tries to realign his moral compass. Although he stumbles along the way, he never loses sight of his goal. He receives solid backup.
Ray Liotta, known for his congenial bad guys, is decidedly low key (for him) as Henry and turns in one of his best performances (there have already been Oscar rumblings). Henry is a cop's cop and the embodiment of the classic 70's cop a gritty no nonsense renegade with no stomach for bureaucracy, who wants to be left alone to do his job. In addition to Liotta's trademark steely gaze, Henry has the benefit of being physically intimidating (in part courtesy of padding which they forgot in one scene) and will not hesitate to lash out if he feel the situation demands it.
The editing techniques used in the film sometimes seem to be at odds: the split screen shots coupled with some flashy editing that scream `Hollywood!' are offset by the blue-tinged gritty flair that dominates the bulk of the film and give it a seedy realistic feel. The film is also hard to watch at times, both literally - the all too familiar bouncing camera shots - and emotionally - the opening salvo that documents why Nick's initial downfall and the demise of the undercover cop.
In spite of the great acting and film work, Narc could easily have joined the pantheon of virtually indistinguishable good cop/bad cop movie-of-the-week films that are quickly forgotten. It escapes this fate thanks to deft writing and a clever twist that questions the very concepts of guilt, innocence and justice, and in the process turning a six star video rental into an eight and half star big screen must see.