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Bad Lieutenant
Aries Films


8.0

based on 18 reviews
Read critic reviews
How did we calculate this?

based on 3 votes
Read user comments
Rate this movie

FILM:

Internet Movie Database

MPAA RATING: NC-17

Starring Harvey Keitel, Brian McElroy, Frankie Acciarito, Peggy Gormley, Stella Keitel, Dana Dee, Victor Argo, and Paul Calderon

A New York cop (Keitel) is hopelessy addicted to drugs, gambling, and sex, in this intense, hallucinatory portrait of sin and redemption. The film follows the lieutenant as he makes his way to various crime scenes, concerned only with taking bets from his fellow cops on the outcome of the ongoing National League playoffs. An investigation into the rape of a nun leads to his spiritual breakdown at the church crime scene, where he sees Jesus and the road to his salvation.

GENRE(S):	Drama
WRITTEN BY:	Abel Ferrara Zoë Lund
DIRECTED BY:	Abel Ferrara
RELEASE DATE:	DVD: November 10, 1998 Video: January 12, 1999 Theatrical: November 20, 1992
RUNNING TIME:	98 minutes, Color
ORIGIN:	USA

All critic scores are converted to a 100-point scale. If a critic does not indicate a score, we assign a score based on the general impression given by the text of the review. Learn more...

100

Chicago Sun-Times Roger Ebert

It is not a "dirty movie," and in fact takes spirituality and morality more seriously than most films do. And in the bad lieutenant, Keitel has given us one of the great screen performances in recent years.

100

San Francisco Chronicle Mick LaSalle

Not only more crazy than “Reservoir Dogs,'' but it also feels more real. [1 Jan 1993, Daily Notebook, p.D1]

Entertainment Weekly Staff (Not Credited)

For all its scenes of degradation (five minutes of which have been shorn for an R-rated cut; we recommend the original NC-17 version), Bad Lieutenant is a deeply moral movie. It's not pretty-it's not even very realistic-but it does matter.

Variety Staff (Not Credited)

Abel Ferrara's uncompromising Bad Lieutenant is a harrowing journey observing a corrupt NY cop sink into the depths, with an extraordinary and uninhibited performance by Harvey Keitel in the title role.

Chicago Reader Jonathan Rosenbaum

There's an undeniable formal elegance in the way Ferrara, who coauthored the script with Zoe Lund, frames and holds certain shots, and Keitel certainly gives his all in this 1992 entry in the Raging Bull redemptive sweepstakes.

Empire Ian Nathan

Abel Ferrara out-sleazes even his own grubby oeuvre with this powerful if overbearing study of a soul swallowed by depravity.

Austin Chronicle Marjorie Baumgarten

What it lacks in charm, it compensates for with audacity and single-mindedness of vision.

The Globe and Mail (Toronto) Rick Groen

Pick your cliche - searing, rivetting, haunting - Keitel delivers a performance to rival Brando's in "Last Tango In Paris."

Chicago Tribune Dave Kehr

For Keitel, this is the Scorsese film that Scorsese never gave him, in which he gets to elbow Robert De Niro away from center stage and take the best part for himself. He seizes the opportunity: Bad Lieutenant immediately becomes one of the defining roles of his career. [22 Jan 1993, Friday, p.C]

TV Guide Staff (Non Credited)

Harvey Keitel gives an astonishing performance here... Though hardly a film for all sensibilities, Bad Lieutenant has the courage of its own convictions, and follows them to the bitter end.

Washington Post Hal Hinson

Ferrara is clearly drawing an equation between the criminals' actions and The Lieutenant's, and as trite (and potentially shameless) as this may sound, it actually works.

Los Angeles Times Peter Rainer

It's a film enthralled by its own lower depths… Although Bad Lieutenant is structured as a redemptive thriller, it functions primarily as a freak show with religioso overtones. [30 Dec 1992, Calendar, p.F-7]

The New York Times Elvis Mitchell

Mr. Ferrara has his saving graces, too, the chief one being raw talent, which he continues to display while telling even the most far-fetched story.

Time Richard Corliss

A serious film about the gnawing of conscience and the thirst for redemption, but the tone is so dispassionately vile it may leave viewers shaken or sick. [16 Nov 1992, p.95]

ReelViews James Berardinelli

As good as the lead actor is, he's not enough to save this picture from landing on the scrap-heap of uninspired, derivative, and grotesquely distasteful character studies. Ferrara is definitely no Martin Scorsese.

USA Today Mike Clark

It's the first film to include both a cameo appearance by Jesus and a full-frontal nude shot of Harvey Keitel dancing in a drugged stupor. [20 Nov 1992, Life, p.4D]

Washington Post Desson Thomson

Despite a glut of luridness, the story line feels essentially flat, as Keitel stumbles through New York in an immoral, unchanging haze. It is only the strength of Keitel's performance that gives his personality human dimension.

The New Yorker Michael Sragow

Yes, you get to see Harvey Keitel's penis; the only surprise is that Jesus keeps His under wraps.

The average user rating for this movie is 8.0 (out of 10) based on 3 User Votes
Note: User votes are NOT included in the Metascore calculation.

Josh C gave it a10:
A hardcore scuzzmeister elevates himself to a new place with this startling, powerfully restrained portrayal of sin and salvation in godless NY. Keitel's inarticulate maudit philosopher is the most uninhabited performance in this disco inferno that also offers relgious hallucinations. As sordid as the material is, the movie isn't oppressive.

Buttered Popcorn gave it an 8:
You gotta see this one to believe it. It's not like other movies. This is the real thing. Probably more interested in being realistic than entertaining, but you leave with the sense that you just saw something very authentic, un-filtered, un-apologetic, and un-assuming. Very memorable movie.

Yoon C. gave it a 6:
A hoary and sleazy rendition of the classic Dostoyevskian scenario, it has Keitel wallowing in the pigsty of suffering and remorse. Interestingly, whatever compelling elements in the movie derive from Ferrara's unrelenting(and exploitative) relish for sleaze and filth; not just a commentary on social disease, the movie is plague-ridden itself. It lacks the transcendental quality of a Bresson film but at least in terms of depicting physical reality, it's probably as grim and accurate as any movie about urban and moral decay.

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Bad Lieutenant Aries Films

Bad Lieutenant
Aries Films