The first 1012 films are from The 1,000 Greatest Films list, and maintain the original order. The films that follow…
Gambler. Thief. Junkie. Killer. Cop.
While investigating a young nun's rape, a corrupt New York City police detective, with a serious drug and gambling addiction, tries to change his ways and find forgiveness.
Mr. White as a cop living on the mother fucking edge. Blow. Bo fuckin' Dietl. A smart bet. Baseball. A street pharmacist. Crack is whack. Naked dancing. Flaccid Harvey. A convenience store shakedown. A despicable-horrific-sad-face act of violence. Darryl fuckin' Strawberry. Stealing from the dead. Chicks in penguin suits. A nude nun. Jersey bad girls. A serious question. Extreme-chicken-chokin'. Fuck you cassette player! Holy communion. Yummy wafers! Sad confessions. Not giving a flyin' fuck who you snort coke in front of. Nightclub action. Playing dumb. Uncontrolable laughter. An empty threat. China fuckin' White. Real fuckin' justice. Holy fuckin' hallucinations. Some real good shit. The way Harvey says cocksucker. The bus. Checking out for good. Harvey fuckin' Keitel blows it out…
Ferrara at his rudest and crudest best. It goes without saying that this isn't for everyone. Keitel's character has no redeeming virtues - he's everything you don't wanna cop to be - and he's only going downhill further. Yet you care about him and can't take your eyes away even if Ferrara takes him deeper and deeper into despair. This is certainly one of Keitel's best performances, brilliantly embodying all the physical and spiritual pain life has to offer.
Bad Lieutenant is a crime drama that follows the story of a cop who, while investigating a nun's rape, tries to straighten out his life. Ferrara builds an excellent character study on an unlikeable man who leads a life of corruption (by abusing his authority as a lieutenant) and who finds himself cornered with his addictions (drug and gambling) that threaten to destroy his life.
Instead of trying to establish a real 'story', director Abel Ferrara insvests in a controversial study on a man who tries to find redemption after a life of corruption and bad choices, in a detailied examination of a man's nihilist life, a cop who abuses of his social position to lead a semi anarchist life.…
For some reason I've always remembered Bad Lieutenant as a 70s film. There's something about its detachment and struggles with morality that harks back to early Scorsese, especially with Harvey Keitel in the lead role. It becomes more than a mere homage to Mean Streets as Abel Ferrara mirrors Scorsese by weighing down Keitel's boots with Catholic guilt and having him commit a series of unforgivable sins.
The Lieutenant in question is more than a corrupt cop, he's a pervert, a drunk, and a drug addict. He's the sort of guy John Doe and Jigsaw would have a field day with as sin oozes from every pore of his body like thick black tar. His actions are not mere indulgences,…
Less a narrative than an examination of the depths of redemption, Bad Lieutenant takes an unlikable asshole and asks us how much we can take before we want him dead. Harvey Keitel's Lieutenant is a complete monster, a walking pharmacy cabinet, and, besides a strikingly inane suburban side-life, has nothing redeeming about him. We're treated to increasingly detestable episodes that showcase his brutality, hubris, and utter nihilism until there's seemingly no deeper he can sink.
The showcasing of his banal domestic life seems to be director Abel Ferrara's indication that most, if not all, of LT's woes are of his own causing. He mistakes self-destruction for pride. He thinks himself untouchable, even as he becomes more and more erratic. It…
Pretty sure I disliked this at the time, probably for the same reason I like it now: Nothing but downward spiral, plus one agonized act of forgiveness. The early, iconic scene in which Lt. Bad staggers around naked, his face a mask of pain, arguably does more harm than good—it's certainly arresting and memorable (so much so that it became the primary marketing image), but it overwhelms what's otherwise a remarkably flat, almost procedural portrait of ingrained vice. I liked Herzog's "remake," too, but try to imagine Nicolas Cage just zipping up his pants and silently walking back to his car after forcing those two girls to perform for him; that there isn't even a sardonic "You ladies drive…
We basically follow a Harvey Keitel's character, who has no redeeming qualities, from scene to scene without any purpose or direction. Bad Lieutenant tries to hard to be unsettling, however only ever comes across as desperate. While Keitel's character is terrible, Keitel's performance is excellent and is the one of just a few reasons anyone should watch this film.
was harvey keitel's performance actually good or was i fooled by his non-stop crying and screaming
"Vício Frenético não é o melhor filme de Abel Ferrara - apesar de estar ali nas cabeças -, mas é, provavelmente, o filme-símbolo de seu cinema. Não a toa duas cenas aqui são peças primordiais para entender o que são e o que move seus personagens ao longo de sua injustiçada filmografia. (...)"
So so good. Fucking brilliant, in fact. This movie doesn't get enough credit. It's bleak, it's depressing, but it's a work of art. Between this and Reservoir Dogs, 1992 was the Year of Harvey Keitel.
This lieutenant is one bad lieutenant, bad bad bad bad bad bad
Show me how you suck a guy's cock.
Keitel's performance is the main show here, but Ferrara's direction is essential to get into the troubled, claustrophobical mind of the character.
Scattered moments of pure brilliance.
This character story centers on a police lieutenant deep in the throes of addiction, whether that be of the substance or gambling variety. After the raping of a nun, he begins a journey of introspection. Much of this film's reputation rests on the extreme and graphic nature of the material within, but more than anything this is a graphic and dark descent into the human condition.
The film's focus is squarely on the Lieutenant throughout the run time. Sure, he may cross paths with overs, but its impressive in the way that every character in the film is virtually nameless, and simply serves to bring and and accentuate the central character. Full immersion into the…
A gritty grimy bad cop character study that I constantly had to remind myself wasn't made or set in the 70's. Ferrara makes replicates the feel of an early Scorcese while also making it feel like his own.
The only possible way I can think of to explain Keitel's performance is that he must have actually been drinking and drugging the whole time.
Complete list. :-(