Homicide: The Movie Reviews

  • Oct 07, 2015

    I love Homicide and many of the greatest episodes of Homicide could have easily stood up on their own as a feature length film...not sure this is one though. It's a kind of cringey 'we're getting the band back together' storyline to investigate an assassination attempt on G (running as Mayor). There's also some clunky near-to-death hallucinations and some pointless reveals, it all just doesn't really hang together. I enjoy spending time with these characters again but they deserve better than this.

    I love Homicide and many of the greatest episodes of Homicide could have easily stood up on their own as a feature length film...not sure this is one though. It's a kind of cringey 'we're getting the band back together' storyline to investigate an assassination attempt on G (running as Mayor). There's also some clunky near-to-death hallucinations and some pointless reveals, it all just doesn't really hang together. I enjoy spending time with these characters again but they deserve better than this.

  • Aug 10, 2015

    Fantastic wrap up to a phenomenal show.

    Fantastic wrap up to a phenomenal show.

  • Dec 27, 2011

    (spoiler alert) gunman shoots a politician, politician ends up in surgery, gunman appears again and discharges an entire round into the surgeons but fails to put even one into the targeted politician. That was enough to put me off the movie; that and the poor acting on behalf of half the cast. Porting this series to a movie just didn't work.

    (spoiler alert) gunman shoots a politician, politician ends up in surgery, gunman appears again and discharges an entire round into the surgeons but fails to put even one into the targeted politician. That was enough to put me off the movie; that and the poor acting on behalf of half the cast. Porting this series to a movie just didn't work.

  • Dec 17, 2011

    Starts off really well. The hyperspeed, quick witted, back and forth dialogue is brilliant. The detective work/police procedural is alot of fun, Macy and Mantegna are joyous when they share the screen. But the film never recovers when it establishes the Jewish conspiracy theory storyline/s. Some of it has some wit to it but most of it comes off as hokey.

    Starts off really well. The hyperspeed, quick witted, back and forth dialogue is brilliant. The detective work/police procedural is alot of fun, Macy and Mantegna are joyous when they share the screen. But the film never recovers when it establishes the Jewish conspiracy theory storyline/s. Some of it has some wit to it but most of it comes off as hokey.

  • steve c Super Reviewer
    Jun 09, 2011

    what a crappy ending to a great show. it was nice to see old faces from previous seasons but the writing was just shabby. even andre braugher couldn't save it.

    what a crappy ending to a great show. it was nice to see old faces from previous seasons but the writing was just shabby. even andre braugher couldn't save it.

  • May 06, 2011

    Bizarre. Eccentric. Peculiar. Yet...fascinating. Another very unique take on directing actors and striving for real life performances.

    Bizarre. Eccentric. Peculiar. Yet...fascinating. Another very unique take on directing actors and striving for real life performances.

  • Apr 10, 2011

    Contrived and uncredible... There were some moments, some flashes of Mamets genius with dialogue but where as it's always been clear he can write on this evidence its also clear he can't direct...

    Contrived and uncredible... There were some moments, some flashes of Mamets genius with dialogue but where as it's always been clear he can write on this evidence its also clear he can't direct...

  • Mar 12, 2011

    I'm a fan of Mamet's language, but man, it just feels so stilted in so many of his films, doesn't it? Glengarry is the only film of his that comes to mind where there isn't an overly rhythmic focus on the dialogue. Glengarry lets the dialogue flow naturally, and the rhythm forms as it would form naturally in a heated debate. But "Homicide," just like "Heist" and "Edmond" and "The Spanish Prisoner," etc., all feel rigid and cold sometimes, to some degree. We see straight through to the script, breaking the suspension of disbelief on a regular basis. But pushing aside the occasionally unnatural dialogue, the film overall does keep me immersed. His struggle to find a balance between his two cases creates for unusual tension breaks, but Mamet manages to keep us interested in both plot lines. This way we don't feel exhausted or resentful or bored when the plot changes directions. Also, his personal growth as a Jew is actually fairly interesting to watch unfold, although we sense the whole way there's something not quite right about his journey. This suspicion makes the journey darkly engaging to watch; Mamet hints at this darkness with subtle clues along the way, until finally the main character is in well over his head. In the end we discover our suspicions were right, and he's put himself in an awful place without realizing how fast he was falling. I'd say if you approach this film after watching many of other Mamet films, you won't be disappointed. It delivers suspense, smart lines, and good acting all the way around. I've yet to find a Mamet film that bores me. For that, I will keep renting his movies until I finish off the long list.

    I'm a fan of Mamet's language, but man, it just feels so stilted in so many of his films, doesn't it? Glengarry is the only film of his that comes to mind where there isn't an overly rhythmic focus on the dialogue. Glengarry lets the dialogue flow naturally, and the rhythm forms as it would form naturally in a heated debate. But "Homicide," just like "Heist" and "Edmond" and "The Spanish Prisoner," etc., all feel rigid and cold sometimes, to some degree. We see straight through to the script, breaking the suspension of disbelief on a regular basis. But pushing aside the occasionally unnatural dialogue, the film overall does keep me immersed. His struggle to find a balance between his two cases creates for unusual tension breaks, but Mamet manages to keep us interested in both plot lines. This way we don't feel exhausted or resentful or bored when the plot changes directions. Also, his personal growth as a Jew is actually fairly interesting to watch unfold, although we sense the whole way there's something not quite right about his journey. This suspicion makes the journey darkly engaging to watch; Mamet hints at this darkness with subtle clues along the way, until finally the main character is in well over his head. In the end we discover our suspicions were right, and he's put himself in an awful place without realizing how fast he was falling. I'd say if you approach this film after watching many of other Mamet films, you won't be disappointed. It delivers suspense, smart lines, and good acting all the way around. I've yet to find a Mamet film that bores me. For that, I will keep renting his movies until I finish off the long list.

  • Mar 05, 2011

    No one writes quite like David Mamet. The intricate plotting, the characters who live by a code, and best of all, the punchy, profane patter that defines his aesthetic. Even if the credits never roll, if you listen carefully enough you'll always know when you're watching Mamet. His films career has consisted of him working within the framework of genre--heist ('Heist'), fighting ('Redbelt'), military ('Spartan'), political satire ('Wag the Dog'), and here, the police procedural--while exploring deeper themes of loyalty, trust, identity, and his favorite device, the con. His stories are deliberately deceitful, throwing red herrings our way until he gives us one final reveal that shows the wool was over our eyes, and possibly the characters' eyes, the whole time. This film is an engrossing, provocative thriller that challenges you and offers no easy answers. It features some stock Mamet actors--Joe Mantegna (in fine form here), Willaim H. Macy (solid support), wife Rebecca Pidgeon and magician Ricky Jay. It's taut, quiet realism elevates it above others in its genre, and Mamet's poetic prose and deft touch behind the camera make this a superior crime thriller that will stay with you after it's over

    No one writes quite like David Mamet. The intricate plotting, the characters who live by a code, and best of all, the punchy, profane patter that defines his aesthetic. Even if the credits never roll, if you listen carefully enough you'll always know when you're watching Mamet. His films career has consisted of him working within the framework of genre--heist ('Heist'), fighting ('Redbelt'), military ('Spartan'), political satire ('Wag the Dog'), and here, the police procedural--while exploring deeper themes of loyalty, trust, identity, and his favorite device, the con. His stories are deliberately deceitful, throwing red herrings our way until he gives us one final reveal that shows the wool was over our eyes, and possibly the characters' eyes, the whole time. This film is an engrossing, provocative thriller that challenges you and offers no easy answers. It features some stock Mamet actors--Joe Mantegna (in fine form here), Willaim H. Macy (solid support), wife Rebecca Pidgeon and magician Ricky Jay. It's taut, quiet realism elevates it above others in its genre, and Mamet's poetic prose and deft touch behind the camera make this a superior crime thriller that will stay with you after it's over

  • Feb 25, 2011

    David Mamet's razor sharp dialogue is center stage during this tough cop drama. 'Homicide' is a forgotten treasure that is definitely worth seeking out and embracing for the true cinematic pleasure that it is.

    David Mamet's razor sharp dialogue is center stage during this tough cop drama. 'Homicide' is a forgotten treasure that is definitely worth seeking out and embracing for the true cinematic pleasure that it is.