A family's moral codes are tested when Ray Tierney investigates a case that reveals an incendiary police corruption scandal involving his own brother-in-law. For Ray, the truth is revelatory, a Pandora's Box that threatens to upend not only the Tierney legacy but the entire NYPD.
According to the Blu-ray behind the scenes information, the ending exposition was running over 6 pages, and the writers realized that would take far too long. Richard Gere and Edward Norton began to improv with it - encouraged by the director and writer - and pared the scene down to less than 2 pages with a much crisper ending. See more »
Joey Pinero hands Marty a CD of Dulce Pontes, and says that the music he liked is the fourth track. In that album, the song used in the film is, in fact, the first track. See more »
On my first day of law school, my professor says two things. First was; "From this day forward, when your mother tells you she loves you - get a second opinion."
"If you want justice, go to a whorehouse. If you wanna get fucked, go to court."
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The birth of a star and the resurrection of another
It's not often that viewers get a chance to watch a star being born - that a talented unknown actor's performance that is so spectacular it leads to the A-list in one role is rare: Julia Roberts in Pretty Woman, Brad Pitt in Thelma & Louise to name a recent few. But Edward Norton's turn as the "defendant/victim" in Primal Fear is one of those "Wow" moments that leaves the audience salivating for his next performance. In this feature debut, Norton outdistances his role, as does Richard Gere, in a resurrection no less impressive than Norton's star-making turn. Heretofore, Gere has specialized in assorted intelligent professional cad roles. Here, he gets a chance to inhabit one that not only wears his dubious character on his sleeve, but wears it, drives it, drinks it... revels in it. Yeah, sure somewhere there's a heart of gold, but like his client, the layers on top serve him better, and the heart of gold is tarnished. Gere is at his peak, comfortably, cheerfully inhabiting the role.
Laura Linney deserves extra credit for often being the ice-queen foil which propels the two male characters' development; her own character is rather one- dimensional, but she herself squeezes as much dazzle as she can from it. Even though everyone else obviously falls for whatever Gere's Vail purrs into their ears, it's merely enough time for Linney's Janet to get a drag on her ubiquitous cigarette; another step in what will (hopefully) someday be film's love affair with her. Wasted, sadly, are fine character actors like John Mahoney, Steven Bauer, Maura Tierney & Andre Braugher who could have lit up the screen had they not been handed scripts with generic character stereotypes.
See it to watch the ascension of Norton and Gere.
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