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Purchase L.A. Confidential (1997) Movie Online and Download - Curtis Hanson 🎥
Crime, Drama, Thriller, Mystery
IMDB rating:
Curtis Hanson
Kevin Spacey as Jack Vincennes
Russell Crowe as Bud White
Guy Pearce as Ed Exley
James Cromwell as Dudley Smith
Kim Basinger as Lynn Bracken
Danny DeVito as Sid Hudgens
David Strathairn as Pierce Patchett
Ron Rifkin as Deputy DA Ellis Loew
Matt McCoy as 'Badge of Honor' Star Brett Chase
Paul Guilfoyle as Mickey Cohen
Paolo Seganti as Johnny Stompanato
Elisabeth Granli as Mickey Cohen's Mambo Partner
Sandra Taylor as Mickey Cohen's Mambo Partner
Steve Rankin as Officer Arresting Mickey Cohen
Storyline: 1950's Los Angeles is the seedy backdrop for this intricate noir-ish tale of police corruption and Hollywood sleaze. Three very different cops are all after the truth, each in their own style: Ed Exley, the golden boy of the police force, willing to do almost anything to get ahead, except sell out; Bud White, ready to break the rules to seek justice, but barely able to keep his raging violence under control; and Jack Vincennes, always looking for celebrity and a quick buck until his conscience drives him to join Exley and White down the one-way path to find the truth behind the dark world of L.A. crime.
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Should give it a 1/10
to the movie, it was a well directed movie and the first half of the movie is MUCH better than the second half of the movie. i stopped caring after the only interesting character (kevin spacey's character) died, leaving the other two wimps to finish off the movie. guy pearce's character is a waste of screen time and is the definition of a beta male, everything about him is beta, not to mention the other character, russell crowe's man was as much a beta as the guy pearce's man. he's supposedly a violent, intimidating character, but all i see is a weak, painful to watch lesser human being. like i said, kevin spacey was cool in this movie but for some reason, the writers thought it would be either appropriate or funny to kill off the only good character left in this stupid movie. after he dies, the 2 betas battle it out to have sex with a prostitute who puts out for anyone and i mean anyone, even your grandad has probably had sex with her. crowe gets angry when he finds pearce has sex with the love of his life and so... blah blah who even cares after spacey's death. such a wasted movie. i will not be watching this movie again.
Off the record, on the QT and unbelievably great
"L.A. Confidential" is what comes to mind when I think of police corruption movies, especially on the basis of pulling back the curtain of Los Angeles' star-studded image to expose its seamy underbelly. It's a world where the bad guys are vicious and the cops aren't much nicer. I do hear "overrated" a lot (these days) when discussing this movie, and obviously, I don't agree; but I think we can all agree that this is one hell of an ensemble cast. Even when I want to single one player out above the rest, another steps up to refute that notion. Every single person is ideal for his/her character. It's a huge part of why this movie is so damn good. That, and its flawless pacing.

There are plenty of reasons to love this movie, but maybe (maybe) above all else, is the setting. This period (let's say from '45 to '55) has long been my favorite in Hollywood cinema. It's partially why I take to movies like "Who Framed Roger Rabbit", "Chinatown" and "Devil in a Blue Dress". Between this movie's sets, locations, warm color palette, wardrobe and Goldsmith's score, it's a stunning depiction of the time and place. I mean, this is a nice-looking film. "L.A. Confidential" makes an airtight case for wanting to delve into such a disreputable world. The craft here is unparalleled.

Top ten, baby.

***** Best Film of the 90s
Hands-down my favourite American film of the nineties. Curtis Hanson shocked the world by proving to be not only a great director but an auteur with this unbeatable adaptation of James Ellroy's terrifying novel about corruption and crime among members of the LAPD in the 1950s. The hard-boiled detective story angle is brought to life so beautifully, mostly because Jeannine Claudia Oppewall's production design recreates the dark underside of the 50s to such perfection that not even a Coke bottle label is missed. Add to that Dante Spinotti's stunning lighting that rides the fine line between artistic and believable comfortably (as all period camerawork should), Ruth Myers' costume designing and a script by Hanson and The Postman scribe Brian Helgeland (I know, I don't get it either) that pares down Ellroy's mammoth plot about a multiple murder in a local diner involving a policeman with suspicious ties without sacrificing the density of the story or the spiderweb of events involved with it, and you have the best movie of 1997, not to mention the most fascinating detective film ever made since Orson Welles' Touch of Evil. The cast is all brilliant, most notably Kim Basinger as a wordly prostitute who has not only a heart of gold but a mind of steel--Basinger is so strong in her character's every nuance you'll find yourself forgetting she's even acting--and Kevin Spacey as a Dean Martin-esque detective who not only solves an important part of the puzzle, he even discovers he possesses a soul beneath his flashy suits. I just can't get enough of this film.
I know everyone loves it but...
...I didn't. I found the movie to be very convoluted and I didn't care enough about any of the characters to stay with it. I keep hearing this was one of the top movies of all time but I would recommend you skip it or just not expect much.
Kim Basinger was really sexy!
SPOILER ALERT This film was so interesting that I couldn't stop watching it even though it was past 2 in the mid night. I had never imagined that Kevin Spacy would be killed. The film was series of unexpected scenes. What was the most impressed for me was, of course the story was amazingly good, but how Kim Basinger was beautiful, attractive, and sexy. Was she really 43years old at that time? I hardly believed how old she was. Who can resist her temptation? I envy her beauty.
I usually refrain from reviewing films on IMDb unless I feel very passionately about them and believe that I need to voice my opinion. This can apply to both films that I loved or despised. Either way, I see no point in reviewing a mediocre film that I forget about the second I step out of the theatre. With that having been said, L.A. Confidential is nothing short of perfection. As with any great film everything starts with the screenplay which in this case was written by Brian Helgeland and Curtis Henson, the latter of which was also the director. The script was adapted from a novel by James Ellroy that I'm ashamed to say I haven't read. However, I have heard that many believed it to be an impossible task to adapt the novel into a film. That makes the screenplay of Helgeland and Henson all the more impressive. An equally daunting task for a great film is to assemble a top notch cast. Once again, L.A. Confidential hits the mark with one of the most impressive casts in recent film history. Russell Crowe, Kevin Spacey, Kim Basinger (who received an Oscar for her role), Guy Pearce, James Cromwell, and Danny DeVito comprise the absolutely top class cast of the film. Yet in my opinion, all of the aforementioned aspects of the film are not even the best part. The best part has to be the absolutely tremendous set designs, costumes, and general recreation of 1950's Hollywood culture. I feel that this was an amazing time and place in American history, and this film takes the audience there. One of the best scenes in L.A. Confidential involves two of the main characters running into a Hollywood starlet who they believe is a fake. What I love about this scene is how subtly the director reminds us that this isn't just any place in America, this is 1950's Hollywood where huge stars like Lana Turner can be found socializing with a member of the mob at a local hot spot. That is the beauty of this film. You feel like you're watching a 1950's film noir through a 1990's camera lens.

If you're taking the time to read my review, you're probably wondering why I haven't discussed the plot of the film. The answer to this question is simple, there is really no need. All you have to know is that it's a brilliant film that you should watch no matter what genre of movies you are into. This is in my opinion one of the top ten movies of the last decade and easily the best picture of 1997. Ironically, it lost the Best Picture Oscar that year to Titanic which I feel was the greatest oversight in recent Oscar history. This is a one of a kind film, the likes of which I'm afraid we won't see for a long time to come, if ever. Lastly, if you have not yet seen L.A. Confidential I hope that my review inspires you to do so. Conversely, if you have already experienced it I hope that you are reminded, if only for a brief moment, of what great film making truly is.
Robbed by Titanic
I was appalled watching the oscar ceremony in 1998. Not because Cameron asked for a minute of silence (something even Spielberg didn't request for the holocaust after winning for Schindlers List) and not because I knew LA Confidential wasn't going to sweep the acting awards like it deserved because neither Guy Pearce, Russell Crowe or James Cromwell were nominated. I was shocked and stunned that LA Confidential was beaten to the top oscars by Titanic. It was a truly undeserving victory. LA Confidential has some seriously heavyweight acting performances. Right through Danny DeVito and Kim Basinger who did win for her performance as Lynn Bracken. Russell Crowe is simply brilliant there are no other words to describe him. Kevin Spacey is every bit as good in this as anything he's done before or since it. I can't recommend this movie enough.
Three Cops Who Changed Their Minds

The story of three cops who changed their minds. Guy Pearce begins as a coldly manipulative cop interested mainly in promotions. He winds up sanctioning the use of brute force in order to obtain what passes for justice in this movie. Kevin Spacey is sort of "affiliated" with the LAPD but his chief interest is in being technical adviser on a "Dragnet" show and getting his picture in the L.A. Times. He discovers that he has a sense of responsibility when a sympathetic young bisexual is murdered on his watch. Russell Crowe is an apparently mindless brutal thug who finds that love has made him vulnerable and that the instrumentality of anger has its limits.

Overall, it's an excellent film. The theme is similar to that of "Chinatown," in which Jack Nicholson, a brittle but basically decent representative of objectivity and order, discovers corruption in high places. "L. A. Confidential" isn't "Chinatown" (what is?) but it brims with the same irony and sense of dis-ease, although our identification with a single isolated human being is dispersed over a trio of flawed cops.

What a well-drawn flick. Curtis Hanson handles the direction competently, blessedly without the sort of dazzling special effects a viewer has come to expect from cop movies. There is plenty of action, but no car chases, exploding heads, or slow-motion deaths. In fact, all but two of the deaths take place offscreen. That's directorial bravery for you. Bring another Medal of Valor here.

The performances are about as good as they come. Danny DeVito is a tabloid reporter who speaks in headlines, liable at any moment to say something like, "What he needs is a snoot of coca-cola up the old schnozzola." (This is 1953, don't forget.) Kim Basinger is beautiful as a Veronica Lake lookalike but doesn't have too much of a chance to stretch her acting chops. Guy Pearce as the independent loner is the only character who gets my respect from beginning to end. He really BELIEVES in the cause, a hard charger, unfriendly though he may be. He also looks oddly like Arnold Schwarzenegger, especially odd since he was a body builder of sorts. I knew another body builder who was Schwarzenegger's body double in "Raw Deal" because he was a ringer. (Do all body builder have to look like Arnold Schwarzenegger? I mean, aside from their glutes?) Speaking of body builders, Russell Crowe gets a lot of screen time in a dark brown suit speckled with what looks like bird droppings, perhaps the ugliest suit ever committed to film, with shoulders as wide as the central span of the George Washington Bridge.

Two of the performances are irreproachable. John Cromwell is the corrupt police captain. He plays the role chewing gum and exuding unpretentious Irish charm ("Call me Dudley.") while tempering the charm with what sounds like good-natured and sincere common sense advice. Underneath that, he's thoroughly rotten in every respect. And Kevin Spacey is perfect as the vain detective who knows his way around the show-biz part of L.A. and enjoys schmoozing with councilmen, celebrities, and the press. He's involved in the two most amusing scenes in the movie. The first involves an almost miraculous control of facial expression. He's called in for interrogation by his superiors and is asked to testify against some other officers. "No," he says, "I won't snitch on anyone in the department." They offer him no punishment more severe than a slap on the wrist and before he knows it, he'll be back on "the show," which he loves. "The show?" he asks. There is a long long moment while his face sort of drifts from surprise, through disbelief, and into resignation. Then he figuratively shrugs his shoulders and says, without any deliberation, "All right, I'll do it." The very model of a complete sellout. The other amusing scene is when he and Pearce accost a beautiful blond in a nightclub and sneer at her because she's a whore plastic-surgerized to look like Lana Turner. And Spacey informs Pearce to lay off, "She IS Lana Turner." When they return to their car, both officers begin laughing.

The photography is fine, the early 50s decor is what you'd expect from a professional job like this. There isn't much in the way of original music in the score -- hardly any in fact -- but period music is used, not overused, to good effect. (It's quality varies from Kay Starr to Cole Porter.) Extra Casting and Wardrobe even went to the trouble of making the actors playing Jerry Mulligan and Chet Baker LOOK LIKE Mulligan and Baker, although they cut Baker's recorded solo short on "The Lady is a Tramp."

The movie doesn't have a traditionally happy ending really. All values are gray, as they are in real life, rather than black and white. Pearce, the political animal, remains ambitious but now has distance enough from his role to see it for what it is. The same seems to be true for Crowe's character, who has found the love of a good woman. Well, the love of a woman anyway. Crowe still has a long way to go before reaching redemption. He's killed in cold blood a rapist and drug dealer and planted a gun on him and gotten away with it, but we've seen him look disgusted at some violence he's forced to witness later in the film. Vincennes is dead.

This one is definitely worth seeing.

Catch this, if you can.
20 years from now
I believe that we should have a hall of fame for movies over 20 years old. I think that this is the right period of time to tell whether a film will be a classic. In my view this will be up there with the best. It has style and great acting and the production is first class. Of recent films this ranks with Shawshank as the one that slipped passed the Academy - hence the need for the 20 year award. I think Titanic will be silently resting in peace and forgotten by then
Not so great the second time around.
I saw this movie twice in two days. Of course it's an outstanding film, but it didn't get any better the second time around. There were no special vibrations or hidden beauties to be found in seeing it again.
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