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  • Whats not to like about this movie? Well, the violent and the dark, at times manic context which prevails in a good share of the scenes, together with the perversity thats being thrown at you in the most unsubtle way. Nick Nolte's Brennan must be the most foul,intimidating and maniacal cop figure ever portrayed since Orson Welles' Captain Quinlan in "Touch of evil". He pulls off a great performance, although not very pleasant to watch (nor listen, for that matter).

    Whats there to like about this movie? For one thing, there is Armand Assante and what most likely is the role of his career, even if its a supporting one and he gets only a couple scene stealers. He demonstrates how great he can be if given the right part. And his role is very interesting, an archcriminal with feelings, brought out by a woman who may not even love him.

    Jenny Lumet was also good in her role, although I missed more interaction between her and Assante's character. Timothy Hutton, although overshadowed by Nolte and Assante in turns (inevitable really), proves again that he is a solid actor.His performance is not spectacular(as the role doesn't allow it), but its worthwhile. Another great presence by Patrick O'Neal as the sly and cunning district attorney with a criminal past and ties to Bobby Texador(Assante).

    Sidney Lumet is the master of socio-political drama/comedy/thriller. Here he mixes all three into an enjoyable, intriguing and satisfactory work. This film deserves more attention than I believe it got. But again, looking at its "walk on the wild side" perspective, it really couldn't have become a blockbuster hit an average person chooses to watch on video or DVD on a Saturday night.
  • 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.
  • Guess the film from the following description of its characters. A young man investigating misdeeds in the police force, motivated by the memory of his father (a legendary policeman) but also by the pain of having lost the affections of a woman he loves to another player in the drama. A renegade cop, rampaging violently through the city, but revered on the force for standing up to the scum on the streets. And the renegade's boss, who protects him, partly because he himself is on old-school Irish policeman; but partly because he appreciates having his own private bag-man, especially in his dealings with organised crime. Throw in some prostitutes for a little background colour, and it sounds like a perfect description of 'L.A. Confidential'. But it also describes this tough and underrated movie made by Sidney Lumet some years before Curtis Hanson's film.

    Whereas Hanson's film was stylised, and glamorised violence (provided the cause was just), Lumet has gone for a more realist approach, and his bad cop (played mesmerisingly by Nick Nolte) is completely rotten, in fact resembling Harvey Kietel's 'Bad Liutennant' in Abel Fererra's movie. The film is dated by its ghastly electronic soundtrack, and more interestingly by its portrait of New York at a time when the city was at its lowest ebb. But it's a very well assembled thriller, exploring issues of race, mixed loyalties and the meaning of good policing without flinching from a grim picture of life on the margins of law abiding society. Lumet has had a long career, but this is one of his better films, and ultimately more truthful than Hanson's stylish charade. Each are good, in their own way: why is only one so appreciated?
  • The last and least of Sidney Lumet's three stories of (more or less) innocents trying to uncover police corruption and blow the whistle on the guilty, and the only fictional story. There's nothing wrong with the acting of the principals. Nolte is brutish and tall in an over-the-top performance. (He always looks larger on screen than in person.) His New York accent, however, is clearly superimposed on an unregional Omaha set of phonemes. Jenny Lumet looks splendid but has the same problem with her accent, and her scenes are too long as part of a mixed-up romantic subplot that doesn't hold together well. Timothy Hutton has less of a notable problem with his speech, and he is really quite good as the innocent-looking but by no means weak investigating attorney. He even looks pretty Irish. O'Neal is the smoothly villainous and murderous head of the investigation, and a very good villain he is, as usual. Guzman and Dutton provide excellent supporting roles. And Armand Assante seems built for the part of the iron-eating PR drug dealer who has made the decision, a thoroughly rational one, to get out and live in the Caribbean sunshine. His body movements provide a language unto themselves, his smallest gestures are magnetic. They draw so much attention to themselves that they are almost the self-parody that they were in his hilarious spoof of detective movies. He's an exceptional actor.

    The movie's plot, however, leaves a good deal to be desired. Its fictional skeleton shows through. You've never seen so much ethnicity on the screen before, and it's misplaced. It's easy enough to believe that racial insults are offhandedly traded among in-group members but difficult to believe that every conversational exchange, no matter how casual or intense, must include one. And at the very time when some of these barriers are beginning to weaken, judging from the rising rates of intermarriage. Serpico's story was relatively simple. Prince of the City far more complex and realistically tragic. This one is simply hard to follow as well as hard to believe. Boats turn into fireballs in unlikely ways, as they do in quickie action movies. Characters fly back and forth from San Juan to New York and some are killed and it's difficult to keep track of what's what and who's who. It isn't that Lumet has lost his touch.

    When a character is shot in the neck, man does he bleed out. But the director is working with less compelling material here and in any case this kind of narrative is running out of steam. All of that notwithstanding, this is still a notch above most of the junk polluting the multiplex screens today.
  • The one thing Q & A has going for it the entire time is in the form of its atmosphere; it's utterly, utterly effective atmosphere that is very much present due to one thing: we know exactly what the character of Brennan (Nolte) has done but Reilly (Hutton), who is supposed to find out exactly what the situation is, doesn't. This is an interesting idea and a bit of a spin to put on the pretty bog-standard situation of your standard, 1980s to early 1990s internal affairs cop thriller. What works is that we, the audience, have a position of power that the characters in the film do not; thus the hero (Reilly) has to work things out but we don't, however we will be with him all the way to see if he is able to crack it. Alternatively, what the audience do know is exactly what Brennan knows which perhaps lures the audience into false identification.

    I think director Lumet, who is certainly well accomplished; most definitely by the time this was made, wanted to make a bit of a noir out of this idea. He shoots the film in such a way that has the hero go on his own personal quest of discovery, even if that discovery is one he might not even want to discover given the truth behind it; Lumet also injects several different types of characters into the story: the hard bodied cop in Brennan who is harder than the hero himself (an interesting spin on things); a South American drug baron and his bodyguards; an old flame who is somehow connected to the baron; a homosexual singer/performer and some allies to the upstanding hero, two of whom are 'Chappie' Chapman (Dutton) and Luis Valentin (Guzmán). Q & A works as a noir-come-internal affairs crime story because it combines things we're familiar with but injects them with, arguably, an auteur's own personal approach. Reilly as a hero seems venerable but smart given his history with the female character now connected with the drug baron and the script consistently pumps out quality one-liners, the majority of which are spouted by Brennan.

    Adding to the noir pointers, it rains a lot in the film but it's significant as to when it rains. Reilly's reunification in the car with his old flame happens after the baron has threatened him to stay away from her thus creating tension; he has done something he shouldn't have after someone of a superior rank has told him not to. But the meeting in the car, although very well placed given the inclusion of the rain, allows us to see deeper into the past of said couple's relationship. It turns out the flame mistook (or perhaps she didn't) a look Reilly gave her father upon seeing he was black, something that obviously points to bigotry. But then again, the film is racist without ever really demeaning any race, religion or ethnic group. Certainly, the level of racism in the dialogue is rather high but when one of Reilly's friend's is in the bar telling him how much of a 'great man' the chief of homicide is, the element of hate is built up through the script and our opinions of a character alternate without him even being on screen. It's also worth saying that when you have a film which contains a character both black and homosexual, one of which is also physically weak the majority of people will have a field day going up in arms over it; but I felt the film steered away from any sort of stereotyping and thus does its best to create a realistic character without any aim to offend. It's worth saying here that director Lumet directed 12 Angry Men, a film that was all about fighting for what's right whether black, Spanish-American or whatever.

    So Q & A is a courtroom drama set outside the court; a noir that it in colour and made in the 1990s; your not so average, everyday cop thriller from the 1980s-90s and your entertaining, compelling detective novel stretched across 130 minutes complete with colourful characters, hate, love, regret and humorous one-liners and insults. Brennon is perhaps the star but given the audience know exactly what he knows throughout several of the scenes, it's almost as if he's the star. Yes, he's mean and spiteful; yes, he intimidates and goes below the belt but if anything, I read people saying: 'watch it for Nolte'. Good call, he's almost the hero given what we know and Reilly doesn't but that's the apparent genius of Q & A: you have your detective cordon, your love cordon and your hard bodied bully cordon. I could recommend Q & A for a number of things, including a re-watch just to clarify a few things but do not let a complicated plot at all put you off seeing it.
  • SnoopyStyle27 November 2016
    Brash and corrupt NYPD detective Mike Brennan (Nick Nolte) tracks down and executes petty criminal Tony Vasquez. Rookie ADA and former cop Al Reilly (Timothy Hutton) is picked by Kevin Quinn for the case. Detectives Luis Valentin (Luis Guzmán) and Sam Chapman (Charles S. Dutton) are the investigators. Brennan claims an open-and-shut self-defense case and Quinn expects a quick exoneration. There are various witnesses including criminal Bobby Tex Texador (Armand Assante) and his wife Nancy Bosch. Nancy is Al's ex who broke up after he didn't react well when introduced to her black father. The self-defense case doesn't add up and Quinn ramps up for a political run.

    Everybody is doing their best hard-boiled New Yorker. That and the labyrithium story can overwhelm the movie. Nolte is going for the full Nolte and it's arguably good. Armand Assante and Luis Guzmán doing a song and dance seems unnecessary. Jenny Lumet is possibly the squeaky wheel. Part of that is her character's convenient relationship with Al. I do like the idea but the situation is too convenient. The movie would improve with some simplification. Lumet is jamming so much into the movie that the flow becomes jagged. In addition, the music score is too light. The recurring song 'The Hit' is a bad 80's pop mix. Rubén Blades is infinitely better as an actor. It simply doesn't work for a gritty New York crime drama. Overall, the good stuff outweights the less good stuff. It kinda works for the most part.
  • Q & A is one of the most enigmatic films I've seen. It veers drastically between exceptionally good and oddly clunky and sometimes threatens to be pretty poor – and not necessarily in that order. It follows an investigation into a shooting by Michael Brennan, an experienced and ferociously tough police officer played magnificently by Nick Nolte in his pomp. The investigation is conducted by Timothy Hutton, who is a true revelation (to me, at least) as an almost equally tough, but mostly non-violent, lawyer. The situation is muddied by a shady drug-runner (Armand Assante) and a manipulative senior officer (Patrick O'Neal).

    The introduction to Nolte's character is fabulous scene-setting, as he holds court with fellow officers regarding some previous rough-housing of a suspect. The Brennan profile is deep and somewhat mysterious – we like him, we hate him, we are disgusted by him….and we want to see more of him. Speaking of which, the film could have benefited from more interplay between Nolte and Hutton. Hutton's brilliantly understated resilience to the aggression of Nolte and Assante, is a surprise and adds a true edginess to the film. Unfortunately, the same can't be said of the very clunky love interest Hutton has with Assante's mistress – we discover they are former lovers who split up over some fairly tenuous business about her father being black. The continued revisiting of this strained relationship is weak and uses time that one feels could be better served building the Brennan character or at least promoting the Nolte/Hutton feud.

    Other questionable points in the film concern the various plot turns that are almost casually thrown in and, whilst we don't lose track of proceedings, one feels we could have been given a better idea of how the characters arrive in certain situations. In short, by occasionally rushing things, Q & A often has you wondering if it's a bad film.

    But there are some moments that are truly great – various scenes with Nolte, and a short office tantrum by Hutton towards the end. You certainly feel that if this film featured more high profile actors it would be considered much more significant than it is currently. I would recommend Q & A to anyone simply for the performances of Nolte and Hutton – and obviously to fans of gritty cop dramas, who will love it anyway.
  • Q&A casts Nick Nolte as a hero supercop who is known for cutting corners to get results. The film opens with him doing his own gangland style execution of a Puerto Rican drug dealer. But given his status in the NYPD he's expecting a clean bill of health.

    As it is a homicide and the Chief of the Homicide Bureau in the New York County DA's office Patrick O'Neal assigns young ADA Timothy Hutton fresh to the Bureau on his first case there. O'Neal much like the Navy in A Few Good Men expecting Tom Cruise to plea bargain the defendants, expects Hutton to do a perfunctory job and clear Nolte. And why not, Hutton is a former cop who went to law school at night to get his degree and he's the son of a former colleague of Nolte's.

    But Hutton has a string of idealism in him and that complicates matters all around. So do the homicide cops assigned to investigate Nolte and both know him, Charles S. Dutton and Luis Guzman. Also Hutton has an unknown connection to one of the chief witnesses Armand Assante who is another drug dealer, but way up on the scale. He's now married to a woman Hutton used to see when he was a beat cop in the 23rd precinct which is Spanish Harlem played by Jenny Lumet.

    Director Sidney Lumet loves New York even the dark underbelly of the Big Apple. We've never seen it so systemically corrupt as it is in Q&A. In many ways the most idealistic character in the film is that played by Armand Assante. Another good character is that of Lee Richardson who plays an investigator with the DA's office who has learned to bend and not let things break him.

    O'Neal has a vested interest in this outcome, but it's one I couldn't get my mind wrapped around. Still he is chillingly malevolent and has big political ambitions. Hutton has a vested interest as well, he's part of the corruption though he doesn't realize it until the end.

    Nolte is one out of control racist, homophobic cop who like so many homophobes has those latent tendencies in him. Check his interaction with some of the gay and transgender folks involved in this case.

    Q&A is not one of Lumet's best films, still his all seeing camera makes New York itself part of the cast and he gets some great performances from his ensemble.
  • namashi_112 March 2012
    Based on a novel by New York judge Edwin Torres', 'Q & A' is A Great Film, that ranks amongst Sidney Lumet's Best Films. The Late Legendary Filmmaker handles this gritty, violent & disturbing film, with top-notch creativity. Also, the performances, are fabulous!

    'Q & A' Synopsis: 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 refuse to help him.

    'Q & A' is gritty, violent, disturbing & yet captivating. The Drama unfolds with flourish & holds your attention efficiently. Sidney Lumet's Direction is Top-Notch. His handling of this difficult film, truly deserves distinction marks. It's amongst his best works as a storyteller!

    Performance-Wise: Nick Nolte stands out. The Legendary Actor delivers a fantastic performance as the filthy mouthed, corrupt cop. Timothy Hutton is first-rate. Armand Assante is terrific. He too plays a bad-guy and he's menacing as well. Patrick O'Neal is superb. Jenny Lumet leaves a mark.

    On the whole, 'Q & A' is a must see film.
  • Warning: Spoilers
    This movie does OK overall. It held it's own as a crime drama. It kept a strong storyline going with good acting from the leads as well as some good support. Dialogue was sometimes very good while at other times hollow and cookie-cutter. 2 things drag down the movie a bit, first a poor theme song and score in general - dated in a bad way - why is feel good pop in what should be a crime drama? This yet again is an instance where music becomes an irritating distraction to the movie, and why it's so important to pay attention to it when editing, but perhaps being 1990 is what it is. Secondly the relationship of the lead and his ex-girlfriend. That whole explanation was in general stupid and unbelievable - with a pretty bad ending, And moreover the issue with racism the movie makes especially with dialogue is poor - a lot of characters are either ignorant or bigots 1 dimensionally. There is quite a lot of profanity - maybe too much. The crime scenes are OK, and the story unfolds pretty well. On the strength of story and acting alone, worth a look, but just missed being excellent due to it's problems.
  • gordtulk22 March 2021
    Some decent talent Squandered by confusing plot and some awful acting.
  • Warning: Spoilers
    "Q&A" is ostensibly about an investigation into an incident during which a small time drug dealer was shot and killed outside a nightclub by a street cop. In fact though, the movie's about something far more profound as it portrays New York City and its justice system as being inherently racist on every level and also asserts that the type of justice dispensed is determined predominantly by the ethnicity (and corrupt interests) of the people involved on both sides of the line.

    Homicide Bureau Chief Kevin Quinn (Patrick O'Neal) appoints Assistant D.A. Al Reilly (Timothy Hutton) to head up an investigation into the shooting of a Puerto Rican by NYPD detective Lieutenant Mike Brennan (Nick Nolte). Quinn makes it clear that Reilly only needs to collect some witness statements and then present them to the Grand Jury because, in his opinion, the case is so straightforward that it doesn't merit any greater attention especially as he regards Brennan as an excellent cop who gets results. Things get complicated and dangerous, however, when Reilly and his fellow investigators start to unearth evidence of corruption and suspect that Brennan may not be blameless for what happened.

    Reilly is young, inexperienced and eager to do well in his career but nevertheless (despite the steer he was given by Quinn) feels duty bound to pursue his inquiries thoroughly to discover what actually happened on the night of the shooting. It's soon revealed that the drug dealer was working for a major operator called Bobby Trexador (Armand Assante) who has Mafia connections and Reilly is surprised to find that the girl who was the love of his life is now involved in a relationship with Texador.

    Reilly meets Nancy Bosch (Jenny Lumet) on her own and wants to get back with her but it emerges that they had separated after Nancy had seen the expression on Reilly's face when he discovered that her father was black and despite every explanation he'd given her since, Nancy had been haunted by the experience and couldn't consider a reconciliation under any circumstance.

    The investigation doesn't go in the way that Quinn had ordered but also ends unsatisfactorily from Reilly's point of view. The experience brings the young investigator into contact with a whole range of people from a variety of different ethnic groups and also culminates in him becoming considerably less naive than he was at the start of the process.

    Nick Nolte's portrayal of Brennan (who is corrupt, bigoted and extremely threatening) is incredibly powerful as he looks physically imposing and capable of extreme brutality. Brennan is coarse and very dangerous because he operates by his own rules and is especially adept at covering up his wrongdoings. In situations where his superiors become suspicious of his methods, they quickly decide not to take any action because in a city where the threat of crime getting out of control is always present, his methods at least provide good results.

    Patrick O'Neal is perfect as the autocratic, smooth and calculating Quinn who doesn't intend to let principles or regulations get in the way of his political ambitions and Assante is impressive as Trexador who's a very non-stereotypical crime boss. Timothy Hutton also does well in conveying the idealism and gullibility of a young man who like Quinn and Brennan is an Irish American.

    "Q&A" is extremely thought provoking as it provides an uncompromising depiction of a situation in which any efforts to control crime and corruption (especially by orthodox methods) are inevitably hampered by the deleterious effects of rampant racism. This problem is portrayed as being intractable with no potential solutions being readily available.
  • btoews2 July 2020
    Not really that well done and dated but worth watching for Nick Nolte's performance alone-Nolte has got to be the most underrated actor ever-the guy should have won a whole bunch of Oscars if winning an Oscar actually meant anything. To see his incredible range. watch this movie and then Cape Fear that Nolte did just a year later playing the total opposite character. As an aside, if Nolte's Mike Brennan character was put into the Cape Fear story Brennan would have crushed Max Cady like he was an irritating bug.
  • Messily written film about an internal investigation of a murder by a star police officer. The film takes it's point-of-view from the investigator, and creates it's drama by following him deeper into the case.

    The poor screenplay and over-complication lets this film down. Nick Nolte's character is pretty much the only thing that will you keep you interested, as unlikable as he is.

    The side-line love story adds nothing to the film, apart from adding to any impatience you may be experiencing about the conclusion of what should be a very simple story.

    Armand Assante is very good in this also, and you can't help but wonder why they didn't exploit his talents a little more, and the lead character's a little less.
  • Exellent police thriller, about corrupt cop Nolte, who finally meets someone, Hutton, who's determined to bring him to justice! Film is good all the way, with Assante in good supporting role. Why this actor hasn't had greater sucses, is a mystery to me. Calderon is also good as transvestite! But Nolte, is absolutely brilliant as the arrogant, super corrupt Mike Brennan! Is one of my favourite police thrillers from the 90'ies. The only downpoint is the silly song used for the end credits, "don't betray the ones you love", of course you don't!

    Peter Piessens
  • Volatile, hard-nosed police detective Mike Brennan (Nick Nolte) is a force unto himself, and a legend on the streets. As the movie opens, he cold-bloodedly guns down a man, and then makes the killing look like self-defense. Assigned to the case is a clearly inexperienced new Assistant District Attorney, Al Reilly (Timothy Hutton). As the case deepens, Reilly realizes that things probably didn't go down the way that Brennan said they did. Brennan is just part of a big, corrupt conspiracy. One character who can offer some testimony *against* Brennan is Bobby Texador (Armand Assante), a charismatic lowlife criminal.

    While not one of the best pictures of filmmaker Sidney Lumets' career, even lesser Lumet amounts to good storytelling and good entertainment. It won't appeal to viewers across the board, as this is a particularly gritty, even dark tale being told, with a non-stop assortment of epithets, racial, homophobic, and otherwise. But even at a running time of 133 minutes, this is one very compelling narrative, due largely to the acting talent on screen. Nolte and Assante in particular shine in two of the best roles that each actor has ever had. Huttons' role is less showy, and therefore his performance, but he does sell the essential facets of his characters' personality. Al soon finds out that he will have a personal involvement in the case, because Texador is now married to Nancy Bosch (played by Sidney's daughter Jenny Lumet), who was at one time the love of Als' life. (Until he made a critical mistake in reacting to the realization that Nancy's father is black.)

    A steady parade of familiar faces lends additional gravitas to this yarn: Patrick O'Neal, Lee Richardson, Paul Calderon, Luis Guzman, Charles S. Dutton, Dominic Chianese, Leonardo Cimino, Fyvush Finkel, and John Capodice. Jenny L. Is clearly not a true heavy hitter like much of the cast, but she is able to hold her own in all of her scenes. As for the music score by actor / musician Ruben Blades, well, his "Don't Double Cross the Ones You Love" may not be a great song, but this viewer it's not really as terrible as Leonard Maltin would have you believe.

    With elements of violence (some of it pretty nasty), humor, drama, action, and social / political leanings, "Q & A" is a pretty watchable effort from a master filmmaker, one that merits a second look from film lovers.

    Seven out of 10.
  • This film is an improved version of Lumet's earlier work 'Serpico'

    It wants to be so streetwise that you can smell the garbage in the street, and at first it succeeds.

    Hutton is excellent as the young investigator on his first assignment, he has a laid back ingenuousness that fits the character perfectly, whilst Nick Nolte rages across the screen as the killer cop who is the focus of the enquiry. The character he plays is convincingly repulsive dripping with corruption and as menacingly violent as a broken bottle brandished in the face of the audience.

    The institutionalised racism portrayed in the police is nasty to behold, particularly when cops from ethnic minorities are grossly insulted by such as Nolte's character and expected to laugh it off.

    This film promises much at first, but as it progresses, it becomes bogged down in cliches and racial stereotypes. Hutton is an Irish cop whose dad was a street cop killed in the line of duty, who ultimately turns out to have been on the take. The Latino community is peppered with glamourous transexuals. Mafioso have skinny, elderly godfathers and grossly fat footsoldiers...The bent cop is a homophobe who is himself a closet homosexual.

    Its all downhill from halfway, with predictable double cross following double cross. Eventually, after high body count, corruption triumphs (One of the characters actually says, justifying this - 'It's a dirty job, but someone's got to do it.')

    As a critic (it's a dirty job, but someone's got to do it) I have to count this as a missed opportunity but the strength of some of the acting (particularly the menacing and foul Mr Nolte) prompt me to award Q & A 7 out of 10 (Ok I was gonna say 5, but someone corrupted me)
  • Two-fisted cop Brennan (Nick Nolte) is something of a legend in the department. Brennan shoots and kills a small-time Puerto Rican hood and then threatens witnesses to testify that he acted in self-defense. Brennan has a hidden dark side as well as a partnership with certain figures of organized crime, but thing go wrong when he shot a a Hispanic dope dealer. An ambitious, idealist young ex-cop turned assistant DA is assigned the case, he's called Aloysius "Al" Reilly (Timothy Hutton) and still wet behind the ears. He is handed a case by homicide chief Kevin Quinn (Patrick O'Neal) , an inquiry into a shooting by NYPD detective Mike Brennan. Then Reilly finds out the another drug dealer Texador (Armand Assante) is a witness. The focus shifts toward racial tension as the Irish fall prey to old animosities against blacks and hispanics, including baron Texador and he happens to be romancing Hutton's former girlfriend. It results in violent confrontations between Texador, Reilly and the rogue cop Brennan. When the questions are dangerous, the answers can be deadly !.

    Semi-taut thriller with a lot of famous actors giving stunning acting. The storyline is a convoluted plot loaded with crime and corruption, of racial and social conflicts, of guilt and redemption. Several hard-boiled roles interweave in one of those satisfying plots replete with darkness and violence, where all the pieces fall into into place at the end. Here the cops fall out, band up, are almost coerced into killing one another and shoot it out with the bad guys form the nub of an engrossing, constantly hard-as-nails tale, conventional at heart, but crisp and atmospheric in the execution. There's a motley group of interesting characters appearing here and there against the backdrop of New York. Despite a redundant romantic subplot, mi¡uch of the film is tightly written and directed, embellishing its conflicts with a wealth of telling detail, but it does remain earnest and faintly predictable. Although the interpretations are mostly solid, it never quite achieves the convincing, harsh, tone it aims. Stars Nolte playing a tough, crude, decorated officer, but also totally corrupt, hair-trigger attemting to make his murder of a dope dealer look like self-defense. His character who knows no law or limits is the axis on which the story revolves. The one that gives unity and strength to the successive parallel stories that are interwoven in his personal quest to find himself. Nick Nolte's outstanding acting anchors the proceedings, which gets somewhat muddled by Sidney Lumet's hard-boiled and reflective script based on the book by Edwin Torres . While Timothy Hutton is acceptable as the prosecutor assigned to who is supposed to sweep the the case under the rug. Being well accompanied by a nice cast, such as: Patrick O'Neal , Lee Richardson, Luis Guzmán, Charles S. Dutton, Paul Calderon, Dominic Chianese, Leonardo Cimino and special mention for the cunning drug dealer Armand Assante who's particularly fine throughout. And film debut of director Lumet's daughter, Jenny Lumet.

    The motion picture was competently directed by Sidney Lumet who keeps up the pace, fills the screen with pathos without gross sentiment. After starting an off-Broadway acting troupe in the late 1940s, he became the director of many television shows in the 1950s . Lumet made his feature film adaptation of directing debut with ¨12 Angry Men¨ (1957), which won the Golden Bear at the Berlin Film Festival and earned three Academy Award nominations. The courtroom drama, which takes place almost entirely in a jury room, is justly regarded as one of the most auspicious directorial debuts in film history . Lumet got the chance to direct Marlon Brando in ¨The Fugitive Kind¨ (1960), an imperfect , but powerful adaptation of Tennessee Williams' play. One of the best films was ¨Network¨, giving powerful scenes and providing a lavishly mounted vehicle for three great actors , Peter Finch, Faye Dunaway and William Holden. Lumet was one of the best American filmmakers, including important films such as : ¨12 angry men, Fail safe, The pawnbroker, The hill, The deadly affair, The group, The offence, Serpico , Equus, The wiz, Prince of the city , Deathtrap , Daniel, Power, The morning after, Family business, Night falls on Manhattan, Gloria, Before the devil knows you are dead¨, among others. Rating 6.5/10.
  • I'm always looking for lesser know cop/detective movies and i really liked Q&A. It isn't super action packed but it has a such a great script with sharp dialogue which makes it very easy to get drawn in. Nick Nolte plays a dirty cop who is trying to cover his tracks after murdering a suspect in cold blood and Timothy Hutton is the deputy district attorney who's sent to investigate the case. Nolte is awesome and his character is a complete sleazy scum bag yet everyone in the force thinks he's awesome because he always gets the job done.

    What i love about this movie is everyone acts and speaks like real people. Yes, there's a lot of racist, sexist and homophobic language in this movie but that's how real people speak and it gives the movie a realistic feel and i applaud it for that. Pretty much everyone gives a strong performance in this movie and i highly recommend it if you're a fan of tough 80's and 90's cop movies.

    No bull, just a well made movie. Thumbs up!
  • I liked this film, a lot. It had some uneven moments in it, mostly Sidney Lumet's daughter's attempt at acting. However, Nolte and Assante are GREAT! This is gritty and realistic movie making. One sympathizes with the somewhat idealistic assistant district attorney (Timothy Hutton) as he tries to do the right thing, with so many thing in his way. The language of the movie is raw, with many memorable quotes. However, after viewing the movie you will find yourself remembering the roles of Nolte (Frank Brennan) and Armand Assante (Bobby Texador). Nolte is a cross between John Wayne and Ted Bundy. He is the first cop through the door and the first to pull out his weapon. He gets the job done, but he also breaks the law whenever he sees fit. Hutton, like many, admire Nolte, but the more they find out about the guy, the more they see that he might be the real threat to society. Bobby Tex is the very charismatic drug dealer that honestly wants to get out of the business alive. It is rare that the character that you root for the most is a drug dealer, but this movie maybe the one exception. He is better than the murdering cop. Hutton plays the straight guy in between these two forces of nature. Hutton has personal demons and real demons standing in way of doing the right thing. Good, solid story that you will enjoy. No Hollywood ending here. This movie is RAW!
  • Typical Sidney Lumet rambling tale of DA's Attorney general's, crooked cops all thrown in the backdrop of a routine investigation into a killing of an informer. Fascinating to watch it unfold...
  • lark196421 February 2006
    Warning: Spoilers
    There is nothing to redeem this movie. Not one single character in this movie is sympathetic, not one action taken by anyone is even remotely justified. From the DA's prejudice to the nasty cop's increasingly sociopathic behavior to the bitter ex-girlfriend's stupid choices of a man to "take care of her".

    The only person who could even be said to have integrity was Armand Assante, a gangster, and only because he basically stuck to his principles, amoral as they were. Timothy Hutton tries, but the simple fact of the matter is, he's not a nice guy, he's a jerk, and the the girl between them had no self-esteem to start with, so what made her think she could suddenly gain it by behaving like a moron?

    Gad, what a waste of film.
  • Warning: Spoilers
    I really loved this movie when it first came out. It was sort of a Serpico for the 90's. The plot is a little convoluted and the movie could have perhaps used a little better screen writing, but the great performances by the magnificent cast more than makes this movie work.

    What I really think the movie does best is capture NYC as it was then. The dark side, the corruption of the political, judicial and law enforcement divisions. The not-so subtle racial divisiveness. It's all amazingly real and being a born and bred New Yorker,it was scary to watch, yet all too believable. I loved that all the characters in this movie are flawed and human. There is no real right or wrong in this movie - just shades of gray. This has been done many times in movies before and is nothing new, particularly with Sidney Lumet films, but I can't think of a movie that has done it better.

    I saw one user post a criticism for the last five minutes, I can't think of a better ending for this movie. (Spoiler alert.) When Bloomey tells Francis Reilly that it's all over and they're going to do nothing about his investigation but file it away and gives him the hard knock explanations as to why and how the world really works. I was just as floored by this scene the first time I watched it as Francis Reilly is in the movie. I just love this ending. The short epilogue with Jenny Lumet's character is OK and serves to sort of tie up a last loose end in the film.

    By the way, to that other commentator about the cheesy Rueben Blades theme song. (Don't double cross the ones you love.") Your not the only one who can't get that cheesy song out of your head whenever you watch this movie.

    Perhaps Blades should pursue a career as a jingle songwriter instead, he seems to have a lot of potential talent for it.
  • This will be an open and shut case he said. Detective Mike Brennan (Nick Nolte) is a good cop he said. Well why in the world am I trudging through waist deep muck to get to this "good cop?"

    Al Reilly (Timothy Hutton) was on his very first case as an Assistant DA in New York and his first case was anything but open and shut. He was to do a quick Q & A of the accused and the witnesses, present it to the grand jury, the grand jury would dismiss it, and everyone would go on living their lives. The Q & A with Brennan was very quick and easy. He had all the answers, and as he told it he should've been awarded a medal of honor. The truth of the matter was far different. He was dirty and he was a killer.

    I'm not spoiling anything by informing you that Brennan was dirty, he shot a guy in cold blood the very first scene. Reilly, at the behest of the chief of homicide Kevin Quinn (Patrick O'Neal), was tasked with doing an investigation of the shooting. The movie was in whether or not Reilly would find out the truth, and if he did find out the truth what he would do with it.

    The primary colors of this painting were those of a rogue cop thinking he was above the law. The secondary colors and highlights were about racism and bigotry within the police department and without the police department. New York may be a multicultural place, but that's not to say they all live harmoniously together. There are overt acts of racism and the subtle acts, such as a glance or a look. Sidney Lumet attempts to capture all of that in this film based upon the book "Q & A" by Edwin Torres. It is a jarring movie rife with cruel insults and characterizations all carefully placed to illustrate a point. It's a challenging, interesting, and controversial work Lumet chose to put on film, but he was never one to shy away from challenges.
  • This is a pretty good cop movie until the last five minutes, that bit should have ended up on the cutting room floor.

    Good to see Nick Nolte playing a bad a$$ for a change. 7/10 if you cut off the secondary superfluous ending.
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