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Q & A (1990)

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A young district attorney seeking to prove a case against a corrupt police detective encounters a former lover and her new protector, a crime boss who refuses to help him in this gritty ... See full summary »

Director:

(as Alan Smithee: television prints)

Writers:

(book), (screenplay) | 1 more credit »
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Nominated for 1 Golden Globe. See more awards »

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Cast

Cast overview, first billed only:
... Mike Brennan
... Al Reilly
... Bobby Texador
... Kevin Quinn
... Leo Bloomenfeld
... Luis Valentin (as Luis Guzman)
... Sam Chapman (as Charles Dutton)
... Nancy Bosch
... Roger Montalvo
International Chrysis ... Jose Malpica
... Larry Pesch (as Dominick Chianese)
... Nick Petrone
... Preston Pearlstein
Gustavo Brens ... Alfonse Segal
Martin E. Brens ... Armand Segal
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Storyline

A young district attorney seeking to prove a case against a corrupt police detective encounters a former lover and her new protector, a crime boss who refuses to help him in this gritty crime film. Written by Keith Loh <loh@sfu.ca>

Plot Summary | Plot Synopsis

Taglines:

When the questions are dangerous, the answers can be deadly.

Genres:

Crime | Drama | Thriller

Certificate:

R | See all certifications »

Parents Guide:

 »
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Details

Country:

|

Language:

|

Release Date:

27 April 1990 (USA)  »

Also Known As:

Tödliche Fragen  »

Filming Locations:

 »

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Box Office

Gross USA:

$11,207,891
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Nick Nolte gained 50 pounds for his role as Brennan. See more »

Goofs

Chief Quinn asks ADA Reilly why he did not attend St. John's Law School. Hutton says his father didn't like the Jesuits. St. John's University is not a Jesuit institution. It is conducted by the Vincentians. See more »

Quotes

Captain Lt. Michael 'Mike' Brennan, NYPD: You fuck with me, better you piss a kidney stone through your hard-on.
See more »

Connections

Referenced in Nick Nolte: No Exit (2008) See more »

Soundtracks

TIP-TOE THRU' THE TULIPS WITH ME
Written by Al Dubin and Joseph A. Burke
Performed by Tiny Tim
Courtesy of Reprise Records
Warner Bros. Music
A division of Warner Bros. Inc.
By Arrangement with Warner Special Products
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User Reviews

 
In Defense of Jenny Lumet
4 May 2002 | by See all my reviews

Many reviews here have trashed Jenny Lumet's acting in this film and I want to go on record saying that I thought she gave an above average performance. I know, she's the director's daughter, but I think she more than holds her own opposite the likes of Timothy Hutton and Armand Assante (she doesn't have any scenes with Nolte).

Lumet plays a girlfriend from Reilly's (Hutton) past. Reilly dated her when he was a beat cop and has since risen to Assistant DA. When the film begins it has been 6 years since their break-up and she strolls into a tense interview session on the arm of notorious drug czar Bobby Texador (Armand Assante). Obviously shaken by her involvement in the case, Reilly attempts to talk with her about their past. I think Lumet is quite convincing in her scenes with Hutton: wrenched emotionally as she kicks him out of her mother's apartment and touching as she discusses their failed relationship. She's no Meryl Streep, but she effectively conveys the anguish of a young woman forced to re-visit her painful past.

Nolte is incredibly powerful as rogue cop Mike Brennan, a brooding, unstoppable evil force unlike any other character Nolte has played. His Mike Brennan is a distant cousin to Denzel Washington's Oscar-winning performance in "Training Day". Assante is nearly perfect as the menacing-yet-philosophical drug lord Bobby Texador. One of my favorite aspects of this script is the multi-faceted nature of Assante's character. Audiences aren't usually asked to identify with drug dealers, but Lumet's script and Assante's performance make Texador into more than just a one note crook. Both he and Nolte were Oscar-worthy, yet neither was even nominated (Jeremy Irons and Joe Pesci took home the male acting Oscars in 1990).

My only criticism of the film is the way racial and ethnic stereotypes are forced into almost every scene: the hard-drinking Irish cop, the Italian mobsters, the shyster Jewish lawyer, the street-brawling Puerto Rican gang members. Maybe Lumet had a point to make by concentrating so obsessively on his characters' ethnic origins, but it seems like over-kill. Despite this flaw, Q&A is still an absorbing and powerful film.


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