Narc

Liotta on itse tuottanut tämä elokuvan, ja hän taitaa olla myös ainoa syy, miksi elokuva on katsomisen väärti. Kiinnostavammaksi elokuva käy noin 20 minuuttia ennen loppua, muuten se onkin vain psykologista diipadaapaa ja Jason Patricin vaimon harjoittamaa psyykkistä kiristystä, jotta mies jättäisi poliisin hommat. En henkilökohtaisesti tajua, miten elokuva saattoi menestyä niin hyvin Sundancella, ja että se on myös Tom Cruisen suosikki jne. Mielestäni ensimmäinen reilu tunti on kauhean tylsä. (30.10.2004)

In the film, it is evident that Ray Liotta tailored it to himself after his career took a downward trend and agents offered him only repetitive and uninteresting roles. He doesn't act poorly, but his best performance is still the released prisoner character in the film Control. In this crime film, the manually shot digital camera and editing are worth noting, but the script boils down to ingredients that are notoriously well-known and have been seen many times. I simply don't get an overall impression of more than 60%, even despite the relatively impressive ending and plenty of stylish characters from the underworld and police officers. (26.04.2009)

The conclusion with the principal idea is pleasing, but the preceding peripeteias are a little too heavy-handed and routine for the film as a whole to be anything more than average. The similar Training Day has a significantly more sophisticated framework and a more energetic build-up. (19.04.2004)

A really good thriller with great acting performances and great direction. The predictable plot is masterfully told by Carnahan, and his back is covered by the great Ray Liotta and, unexpectedly, Jason Patric. And the conclusion that is assembled throughout the film through flashbacks worked out seriously well. (09.06.2008)

The plot is unoriginal at best and (especially in the end) a heavily cliched police story like this would have done better as an episode in a series. However, director Carnahan directed his own script with complete clarity, so despite the many flashbacks, the plot is still clear and has a strong drive that doesn't let up even in the more specific scenes of the protagonists. The same is true for the action, which, although quantitatively very sparse, occasionally comes to the surface. It is clear and authentically raw due to the handheld camera (you don't see bombastic openings like this very often). Ray Liotta is the best he’s been since Goodfellas, overshadowing the solid Jason Patrick, who has undergone quite a drastic change in his "look" and the role suits him quite well. In the flood of wannabe cool crime films, this is a very enjoyable spectacle that proves that old-school crime is still the best. (22.11.2006)