A former drug lord returns from prison determined to wipe out all his competition and distribute the profits of his operations to New York's poor and lower classes in this stylish and ultra violent modern twist on Robin Hood.
New York City, the 1930s. A powerful crime family is caught in a lethal crossfire between union organizers and brutal corporate bosses. Against this turbulent backdrop, the family's three ... See full summary »
An artist slowly goes insane while struggling to pay his bills, work on his paintings, and care for his two female roommates, which leads him taking to the streets of New York after dark and randomly killing derelicts with a power drill.
A debauched Hollywood movie actor tries to piece together one wild night in Miami years earlier which remains a drug-induced blur, and soon finds out that some questions about his past are best left unanswered.
Born in the Bronx and raised in upstate New York, Abel Ferrara started his professional film career on Mulberry Street in 1975. For the past year he's been living on the block, and the ... See full summary »
A police Lieutenant goes about his daily tasks of investigating homicides, but is more interested in pursuing his vices. He has accumulated a massive debt betting on baseball, and he keeps doubling to try to recover. His bookies are beginning to get agitated. The Lieutenant does copious amounts of drugs, cavorts with prostitutes, and uses his status to take advantage of teenage girls. While investigating a nun's rape, he begins to reflect on his lifestyle. Written by
Ed Sutton <firstname.lastname@example.org>
Premiere voted this movie as one of "The 25 Most Dangerous Movies". See more »
When the Mets win the pennant, we see the Met catcher roll the ball toward the mound and run toward the dugout. This is obviously the end of an inning, but not the end of a game. See more »
You raped a holy thing. You destroyed that young girl. And she forgives you. Ya hear that? She forgives you. You fucking heroes. Ya like holding her down and shoving your dick into her? While she couldn't do nothing about it. Did you like that? Watch this motherfucker! Watch this you cocksucker! Look at that! You can't do a thing about that can you? Can you? Look at me! Can you? Can you fuckface? Can you? There, move. Move you cockscker. Move. I'd like to blow your fucking face apart.
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Intense, subtle, and in some ways unique- Bad Lieutenant is the sleeper of 1992
Abel Ferrara has on his hands a small masterwork of one man's existence in the doldrums, and he has such a way of dealing with "the streets" as a perpetually gritty, hellish world in a movie that I didn't disbelieve it for a second. In a sense he can be compared to the likes of Scorsese, however he certainly works in a different frame of honesty in mind in depicting his lead character and those he encounters. At the core of this extremely well made, unconventional film is the best performance Harvey Keitel delivered in the nineties, a bravado piece of work in which he bares all of the qualities that can make up the badness in the lieutenant. The Lieutenant spends little time with his kids, and when he does is hardly happy, and when he leaves them he goes into the underworld to do coke, crack and heroin, gulps down alcohol like Evian, and tries to cling onto whatever dignity he has left in betting on the Mets in the championship series.
When a startling case occurs - a nun is raped by two street kids - the lieutenant is on the scene, however fogged in his muck, and can't understand how somebody, even a nun, can forgive such a crime. This leads into the third act of the film, and this is where the work propels itself into a higher ground, mature, spiritual, and ultimately fascinating in every aspect. Overall, Bad Lieutenant is a lean, un-abashed first-person singular in a rather sophisticated delivery. We are delivered a character, like Alex in Clockwork Orange for example, who is not even a half-way decent person. But just by the way Ferrara and Keitel bring us into his world, and the details of his existence, a viewer can start to understand that the film works on other levels besides those of a conventional "all around bad-cop" story.
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