L.A. Confidential

L.A. Confidential is, without a doubt, the best film of the 1990s, and quite possibly one of the best films ever made.

As with any great film, it all starts with the writing. The story is riveting, the dialogue is smart and quite funny, and the characters are written in three dimensions.

The acting is phenomenal. Perhaps a bigger tragedy than L.A. Confidential's loss to Titanic in the Best Picture race is that none of the three lead actors even garnered nominations. Russell Crowe, Guy Pearce, and Kevin Spacey are absolutely phenomenal; it is their characters that drive this fascinating story about police corruption in 1950s Los Angeles. We get to know these people, to understand who they are and why they do what they do, and to root for them to overcome their imperfections.

The directing is fantastic. Curtis Hanson doesn't shove anything in the audience's face; instead, he allows the audience to discover the film's nuances on their own. (That makes this an excellent film for repeat viewings, you truly catch something new every time). 1950s Los Angeles is reproduced beautifully. The editing is quick and seamless, the music is perfect for the film (Hanson should teach other directors how to do a montage effectively), and the cinematography is great.

I can't find a negative thing to say about this film. It's truly a masterpiece.

L.A. Confidential most likely falls into the category of one of the best movies of the past twenty years. The complex story line seemed to burst at the seams with intelligence. I found the complexity of several different sub-plots working together challenged the intellectual part of my brain while the intense action through out the entire movie satisfied the craving of the not-so-intellectual part of my brain that enjoys seeing a good brawl followed by a good shoot-out. Brian Helgeland and Curtis Hanson did and excellent job of combining many elements of several different kinds of films into one. They seem to have made this movie with several different audiences in mind. I for one, as I have mentioned, enjoyed the intellectual aspect as well as the action, while my wife enjoyed the combination of a love story with drama. It really has something for everyone. Bringing together all of these elements into one film sets it apart from many others. Of course the best aspect of L.A. Confidential is the way that not everything is as it seems, and then, in an instant, all of the plots are sprung like a trap and come together for a grand finale. Overall L.A. Confidential is an exceptional film that contains something for everyone.

L.A. Confidential is the most classy, intriguing, thought provoking and sexiest detective movie ever to be made in the history of detective films.

When you look back at it and see that Russell Crowe, Kevin Spacey and Guy Pearce actually appeared in the same film back in 97 then you wouldn't have believed it since they have all gone on to better things but before that we had L.A. Confidential which was Crowe's and Pearce's ticket into Hollywood. Spacey had already made it with his Best Supporting Actor nod for The Usual Suspects but what puzzles me is how everybody apart from Kim Basinger didn't get any acting nominations at the Oscars. James Cromwell is the most chilled out villain you'll ever going to see in a film like this and has been criminally ignored by the Academy. Curtis Hanson was also someone who had made some good films but no masterpieces till this came along.

They all must have sold their souls to make this because when you get big cast get together to make a Hollywood film then you become a bit intrigued by it because if the cast is big then is the story any good? In L.A. Confidential's case it had both and a lot more to say the least.

I still think that this is Spacey's, Crowe's and Pearce's best film of there career. Russell Crowe as tough guy but sentimental towards women Bud White is flawless and is quite like the real Russell Crowe which is scary. Guy Pearce as the quick witted but dumb looking Ed Exley is someone one you either love or you hate as the annoying rookie. Kevin Spacey is just as cool as anything that Bogart and Mitchium could have pulled off as Jack Vincennes and there is the movie along with a great script by Brain Heagland of Mystic River fame and Curtis Hanson himself who put together a great script from James Elroy's novel.

Kim Basinger is as sexy as she is going to get and her acting is very good and well deserving of her Oscar if the boys were robbed. I liked how we had three different stories and one case that all had something to do with another but were all separate anyway till the end. It was like watching a movie with three stories based on a trio of detectives. L.A. Confidential was a treat as far as storytelling goes because it enthrals you into the film straight away as well as it being more exciting than a night out in Vegas.

We don't see Detective films like this so we should be grateful that this came along when it did.

What happens when a squad of corrupt cops in the 1950s explore a murder case from multiple angles and find their corruption coming back on them like chickens coming home to roost? Who will solve the crime? Who will survive and what will be left of them?

This movie is phenomenal. The only reason I didn't give it 10 out of 10 is because I didn't care for the ending (which I won't reveal). It's a world were Hollywood and law enforcement cross over and even the hookers want to be movie stars.

I have not read the Ellroy novels, but I have been told they are even more intricate than this film with a lot more backstory. I would watch a five or six hour version of this film. But even so, that is the strong point of this film: multiple stories that begin to overlap. Sure, others (Tarantino) have tried this, but I think this is the most expertly done conception I've seen yet.

Kevin Spacey's part as a Hollywood obsessed cop is beautiful and he fits the part to a tee. His role is supposed to be similar to Dean Martin and I can see that; Spacey again harnessed this kind of character when he made "Beyond the Sea". Spacey's role is the connection between the world of law and the world of fame.

Russell Crowe plays the "bad cop" who crosses the line with sheer thuggery and an attraction to a prostitute (Kim Basinger, who does a fine job being both alluring yet tasteful). His part was supposed to be for Michael Madsen (one of the greatest actors of all time for a cop/crook movie), but I think Crowe may have been the better choice. Who else can be a natural thug?

Guy Pearce... I was not sure how to take him. I have not enjoyed him ("Time Machine") and yet also loved him ("Memento"). In the beginning, I thought it would be another geeky Pearce role and I was a bit concerned. But as the film progresses, so does Pearce's character become more lovable and impressive. You'll agree.

Danny DeVito was okay and James Cromwell was insidiously delightful.

Brian Helgeland adapted this screenplay. You may know him best as the writer of "A Knight's Tale" and "The Order". The Order was crappy. But A Knight's Tale is fantastic. This, by far, will go down as his crowning achievement. He may as well call up Michael Bay and go retire in the South Seas where they'll never be found.

Simply put, this is the best film I've seen in at least a month (and I watch at least a movie a day). Maybe the best film I've seen all year. Don't set this movie aside, you need to put this on the top of your honeydew list.

In the gritty LA of the 1950's, stardom is the boom industry and all is about appearance and visual image. However under the surface drug use is rife, prostitution is rampant and the police officers are violent thugs. In the middle of this are three officers with different aims. Ed Exley is an ambitious young officer who will do anything to climb the ranks, Bud White is a muscle man and gets the job done while Jack Vincennes is only concerned with celebrity busts and getting his face in the paper. When the three come together on a coffee shop killing that brings in elements of cases they are following they solve it together. However each has suspicions that something is not right.

I'm sorry to say that I didn't pick up on this at the cinema and it wasn't until the Oscars brought it to my attention that I first saw it. Since then I have seen it several times and have enjoyed it every time. The plot is slightly complex (although maybe not by the genre's standards) and it isn't simplified for the audiences sake – it respects the audience enough to trust us to keep up with it's pace. The film is split into three strands dictated by the characters, they are not quite distinct but are mostly intertwined the whole way through – coming together in the final hour to great effect.

The pace of the telling is great; it has moments of drama, of tension and great action. Hanson has done a great job with the direction, he has a great sense of place and time to his 50's Hollywood – whether it be the stars' lives or the black suburbs – but he directs each scene with a sense of tension and urgency that the material deserves. The final twist is OK if not great but it is more the telling of the story that is enjoyable, not just the denouncement.

The casting did a great job of getting growth names and established qualities but no one huge star who could dominate the film. It is the Australian stars that stand out here. Pearce is excellent with a subtly changing character but it is Crowe that sticks in the memory with a very strong character and a performance to match. Spacey is as quality as he ever is (or at least, was for a few years either side of this film) and the support cast is as good with De Vito, Basinger, Cromwell, Rifkin, Strathairn and Guilfoyle.

There is nothing I really dislike about this film. The longer than average running time is not a problem as it easily fills it without dragging at any point. The film oozes class and has a great tough plot from Ellroy where nothing is as simple as right/wrong and everything comes together at the end. A real classy film with brains and brawn which continues to be one of my favourites of recent years.