
Every one of the seventeen reviews is positive, and most of them say the same things in the same order. The praise begins with the adaptation: critics credit Hanson and his co-writer with boiling down Ellroy’s sprawling novel while keeping its characters and its Los Angeles intact. The ensemble comes next, with Crowe and Pearce named most often, and Spacey, Basinger and a restrained DeVito behind them. Chinatown is the recurring point of comparison, and more than one critic calls this the best crime film since it. Several also note that the film manages to be entertaining while saying something about how power in America works.
The spread is unusually narrow. The nearest thing to a dissent is Slant, which finds the film’s polished surfaces a little middlebrow and thinks the ending softens the darkness the rest of the story has built. Empire notices changes from the book but accepts them. Den of Geek stands slightly apart in putting Dante Spinotti’s cinematography, rather than the script or the cast, at the centre of its praise.
The critic hails it as a magnificent, certified classic and one of the most intelligent thrillers ever made, superior to Chinatown in richness and dynamism. It singles out the brilliant adaptation of Ellroy's novel, the intensely committed ensemble performances (especially Crowe and Pearce), and the perfect blend of moral analysis with thrilling entertainment.
Read the full review →L
Los Angeles Times
14 May 1997 · festival review · Kenneth Turan
90*
The critic describes the film as a compelling, dark, dangerous and intoxicating tale of trouble in paradise that contrasts sunny perceptions with brutal corruption. He notes the director's authentic approach to the source material and period setting while focusing on character and plot.
Read the full review →A
The AV Club
29 March 2002 · John Krewson
90*
The film is a masterful adaptation of Ellroy's complex novel and a brilliant, compassionate story of flawed people. It stands as one of the greatest crime films of all time.
Read the full review →G
The Guardian
23 March 1999
90*
The critic finds nothing imperfect in the film's period details and performances, including the restraint of Danny DeVito. It delivers professional excitement while being profound about the running of America.
Read the full review →I
The Independent
14 November 1998 · HHHH
90*
The critic calls it a classic film noir. The review highlights the complex plot involving three LA cops and a classy hooker amid blurred lines between press, mobsters, and police, with strong performances from Pearce and Crowe.
Read the full review →N
The New Yorker
15 September 1997 · Anthony Lane
90*
The critic describes it as a formidable and oddly delicate thriller that revives the sense of Los Angeles as a warren of lies and secrets. They praise the character transformations, fluent adaptation of the source material, and the film’s silken skein of nerves.
Read the full review →N
The New York Times
19 September 1997 · Critic's Pick · Janet Maslin
90*
The critic praises the film as a tough, gorgeous, vastly entertaining throwback to classic Hollywood filmmaking that breaks modern studio rules. She highlights its brilliant adaptation of the novel, surprising mystery plot, and strong performances from an ensemble including Russell Crowe, Guy Pearce, and Kevin Spacey.
Read the full review →T
The Telegraph
19 September 2017
90*
The piece celebrates the film as Hollywood's last great noir, praising its cynical take on the LA dream and the performances that launched careers. It notes the critical acclaim and Oscar success despite competition from Titanic.
Read the full review →T
The Times
22 November 2003 · Brian Case
90*
The writer praises the adaptation for condensing the dense novel while preserving characters and milieu, calling it a beautifully played ensemble piece with authentic period details.
Read the full review →T
Time Out
10 September 2012 · TCh
90*
Hanson's adaptation of Ellroy's complex novel is a towering achievement and probably the finest mystery thriller since Chinatown. It excels as a subtle, shocking, compelling and immensely assured exposé of corruption, violence and scandal in 1950s LA.
Read the full review →V
Variety
25 May 1997 · Todd McCarthy
90*
The critic calls the film an irresistible treat packed with narrative twists and memorable characters, and the best of its type since Chinatown. They highlight the superbly drawn characters and the way the film restores the primacy of the dramatic line in crime storytelling.
Read the full review →S
Slant Magazine
24 October 2008 · ★★★½/4 · Matt Noller
88
The film is one of the best neo-noirs of the ’90s and a fine example of classical Hollywood storytelling, though its shiny surfaces make it middlebrow and its conclusion undermines the darkness.
Read the full review →The critic praises Hanson's complex dive into Ellroy's world and the fine ensemble performances, particularly from Crowe, Pearce, Spacey, Basinger, and DeVito, along with the evocative 1950s LA cinematography and score. Some changes from the book are noted but accepted as the film delivers inspired storytelling overall.
Read the full review →D
Den of Geek
14 May 2009 · ★★★★★ · Glen Chapman
100
The critic calls the film a masterpiece, praising the adapted screenplay, ensemble cast performances, direction and cinematography. The one thing singled out for praise is Dante Spinotti’s masterful cinematography capturing the feeling of 1950s LA.
Read the full review →C
Consequence
16 September 2017
90*
Hanson’s sophisticated, complex detective thriller ranks among the best noirs of the 20th century alongside Chinatown. It singles out the essential goodness in the three lead detectives that helps them overcome the immorality around them.
Read the full review →P
Paste
2 June 2016 · Kenneth Lowe
90*
The film is a masterful period noir with an elegant script that ranks among the best ensemble-driven stories in cinema. It singles out the portrayal of Los Angeles as a place where the image of heroism matters more than actual virtue.
Read the full review →R
The Ringer
22 September 2016
90*
L.A. Confidential is a major masterpiece and one of the best movies of the 1990s, the most critically adored studio film of its generation. It singles out Hanson achieving sheer perfection in this one film after a steady career of varied work.
Read the full review →Ordered by the weight we give each publication, then by score. Scores are normalised to 100; * means inferred from an unrated review. Summaries are ours, not quotations; follow the links for the reviews themselves. How we rate