--- title: "L.A. Confidential" year: 1997 kind: "film" canonical: "https://film.one/film/l-a-confidential" fi1m_id: "l-a-confidential" imdb_id: "tt0119488" tmdb_id: 2118 wikidata_id: "Q339876" fi1m_score: 88 critics_score: 90 critics_reviews: 17 published: "2026-09-13" updated: "2026-09-18T08:38:18.182650+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # L.A. Confidential (1997) Directed by Curtis Hanson · 2h 18m · MPA R · Crime, Mystery, Thriller ## Identity L.A. Confidential - **Canonical:** https://film.one/film/l-a-confidential - **Type:** Film - **Fi1m ID:** l-a-confidential - **IMDb ID:** tt0119488 - **TMDB ID:** 2118 - **Wikidata ID:** Q339876 - **Same entity:** https://www.imdb.com/title/tt0119488/, https://www.themoviedb.org/movie/2118, https://www.wikidata.org/wiki/Q339876 **Fi1m score: 88** · Critics 90 from 17 reviews *In a sentence:* A police thriller that makes calling the police seem an optimistic response > Curtis Hanson’s crime thriller makes a complicated mystery gripping through the people trying to solve it. The ensemble is persuasive throughout, though the women receive less of the writers’ attention than the men. ## Synopsis In 1950s Los Angeles, policing, organised crime and the scandal press overlap. Jack Vincennes (Kevin Spacey), Bud White (Russell Crowe) and Ed Exley (Guy Pearce) are three officers working in a city where corruption complicates the distinction between the investigators and the people they investigate. Lynn Bracken (Kim Basinger) and Sid Hudgens (Danny DeVito) also figure in the mystery. Adapted from James Ellroy’s novel by Curtis Hanson and Brian Helgeland, the film follows the policemen through a case shaped by violence, reputation and the connections between people on both sides of the law. ## Review *L.A. Confidential* takes us into a city where the police, organised crime and the press are dangerously close. Curtis Hanson’s adaptation of James Ellroy’s novel is an absorbing, forceful crime thriller, and we recommend it with one reservation: its fascination with hard men sometimes limits its curiosity about everybody else. The screenplay, by Hanson and Brian Helgeland, makes a crowded mystery intelligible without making it feel simple. It expects us to pay attention to people as closely as we follow the case. That matters because the corruption in this 1950s Los Angeles depends on personal weaknesses as much as criminal schemes. The script gives us enough reason to understand the attraction of influence, protection and publicity, then makes us consider who pays for them. There is plenty to keep track of, but the story seldom feels like an examination we might fail. Hanson’s control of the ensemble lets a change in someone’s manner matter as much as another piece of information. Russell Crowe’s Bud White is the most immediate reason to keep watching. Crowe makes physical force look useful and almost comforting, which makes the performance troubling. We felt uneasy about how readily we warmed to him; his physical assurance makes it tempting to excuse the violence. Guy Pearce’s Ed Exley provides a less comfortable kind of authority, tight and watchful enough to make principle look like hard work. Their differences keep the film tense even when the plot has paused to explain itself. Kevin Spacey’s Jack Vincennes brings a different pleasure: the sense of a man who knows how to hold an audience. Spacey’s ease keeps the ensemble from becoming a competition in clenched jaws, while Danny DeVito’s Sid Hudgens adds a welcome, grubby humour. Kim Basinger’s Lynn Bracken has the harder task of making a person visible through the film’s interest in her appearance. She succeeds, but Hanson and Helgeland give the men more scope to be contradictory. That imbalance is the film’s clearest limitation. Dante Spinotti’s cinematography makes the period setting inviting enough for the violence to disturb its good looks. There is no need to keep the whole city in darkness to persuade us that something is wrong with it. Jeannine Oppewall’s production design gives the period a solidity that helps the actors inhabit it without seeming put on display. The surroundings make this Los Angeles credible, and Hanson is sensible enough to keep the actors in charge of our attention. Peter Honess’s editing keeps the separate strands moving at a pace that allows suspicion to build without losing the thread. At 138 minutes, the film has room to complicate our first impressions, and it mostly uses that room well. Jerry Goldsmith’s score supplies tension without doing the actors’ worrying for them. Together, the cutting and music sustain the pleasure of a densely plotted thriller, though there are passages when the amount of information briefly outweighs the people delivering it. Crime thrillers can become pleased with themselves for noticing that respectable institutions harbour criminals. Hanson avoids much of that smugness by making the people inside those institutions worth watching, even when their behaviour repels us. We share the critics’ admiration for the storytelling, with a little less patience for how narrowly the film distributes its sympathy. Give it an uninterrupted evening, and resist deciding too quickly which officer deserves your confidence. *Fi1m score 88, published 13 September 2026.* ## What the critics say 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. ## Straight answers **How long is L.A. Confidential, and what is it rated?** *L.A. Confidential* runs 2h 18m and is rated R by the MPA in the US. It is a crime and mystery film. **Where can I watch L.A. Confidential in the US?** *L.A. Confidential* is streaming on Amazon Prime Video in the US, and it is also available to rent from Amazon Prime Video from $3.99. Availability is checked daily; the links above go straight to each service. **What should I watch after L.A. Confidential?** After *L.A. Confidential*, try [*The Big Heat*](https://film.one/film/the-big-heat) (1953, Fi1m 86): For another hard look at police violence and the comforts of revenge. Then [*High and Low*](https://film.one/film/high-and-low) (1963, Fi1m 90): For a patient investigation that makes money and social standing matter; and [*Chinatown*](https://film.one/film/chinatown) (1974, Fi1m 93): For another Los Angeles mystery where influence determines who gets hurt. ### Reviews we read (17) - **Total Film** (95/100, inferred): 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](https://www.gamesradar.com/la-confidential-review/) - **Los Angeles Times**, Kenneth Turan (90/100, inferred): 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](https://www.latimes.com/archives/la-xpm-1997-05-14-ca-58500-story.html) - **The AV Club**, John Krewson (90/100, inferred): 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](https://www.avclub.com/l-a-confidential-1798196066) - **The Guardian** (90/100, inferred): 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](https://www.theguardian.com/media/1999/mar/23/tvandradio.television1) - **The Independent** (HHHH): 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](https://www.independent.co.uk/arts-entertainment/video-reviews-1184924.html) - **The New Yorker**, Anthony Lane (90/100, inferred): 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](https://www.newyorker.com/magazine/1997/09/22/1997-09-22-141-tny-cards-000155476) - **The New York Times**, Janet Maslin (Critic's Pick): 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](https://www.nytimes.com/1997/09/19/movies/film-review-the-dark-underbelly-of-a-sunny-town.html) - **The Telegraph** (90/100, inferred): 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](https://www.telegraph.co.uk/films/2017/09/19/crime-qt-la-confidential-hollywoods-last-great-noir/) - **The Times**, Brian Case (90/100, inferred): 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](https://www.thetimes.com/travel/destinations/north-america-travel/us-travel/california/why-im-mad-about-la-confidential-th7ndhk6hhh) - **Time Out**, TCh (90/100, inferred): 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](https://www.timeout.com/movies/la-confidential) - **Variety**, Todd McCarthy (90/100, inferred): 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](https://variety.com/1997/film/reviews/l-a-confidential-1117329759/) - **Slant Magazine**, Matt Noller (3.5/4): 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](https://www.slantmagazine.com/dvd/l-a-confidential-bd/) - **Empire**, Bob McCabe (85/100, inferred): 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](https://www.empireonline.com/movies/reviews/la-confidential-review/) - **Den of Geek**, Glen Chapman (5/5): 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](https://www.denofgeek.com/movies/la-confidential-blu-ray-review/) - **Consequence** (90/100, inferred): 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](https://consequence.net/2017/09/l-a-confidential-and-the-last-great-20th-century-noir/) - **Paste**, Kenneth Lowe (90/100, inferred): 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](https://www.pastemagazine.com/movies/la-confidential-and-the-problem-of-the-sung-hero) - **The Ringer** (90/100, inferred): 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](https://www.theringer.com/2016/09/21/movies/curtis-hanson-appreciation-la-confidential-wonder-boys-696f719f242a) ## Details - **Director:** Curtis Hanson - **Director:** Curtis Hanson - **Screenplay:** Brian Helgeland, Curtis Hanson - **Novel:** James Ellroy - **Cinematography:** Dante Spinotti - **Editor:** Peter Honess - **Music:** Jerry Goldsmith - **Production design:** Jeannine Oppewall - **Costume design:** Ruth Myers - **Producer:** Curtis Hanson, Michael G. Nathanson, Arnon Milchan - **Cast:** Kevin Spacey as Jack Vincennes; Russell Crowe as Wendell 'Bud' White; Guy Pearce as Edmund 'Ed' Exley; James Cromwell as Dudley Smith; Kim Basinger as Lynn Bracken; Danny DeVito as Sid Hudgens; David Strathairn as Pierce Patchett; Ron Rifkin as D.A. Ellis Loew - **Runtime:** 2h 18m - **Certificate (MPA):** R - **Release (the US):** 19 September 1997 - **Genres:** Crime, Mystery, Thriller - **Also in:** [Best Picture winners](https://film.one/collections/oscar-best-picture.md) (Nominee, 1997); [BAFTA Best Film winners](https://film.one/collections/bafta-best-film.md) (Nominee, 1997); [Golden Globe Best Drama winners](https://film.one/collections/golden-globe-drama.md) (Nominee, 1997) - **Budget:** $35 million - **Box office:** $126 million - **Trailer:** https://www.youtube.com/watch?v=QeIoelqDzsA ## Where to watch in the US - Amazon Prime Video: streaming - Amazon Prime Video: rent $3.99, hd - Amazon Prime Video: buy $4.99, hd *Checked 2026-09-13.* Also available in: AR, AT, AU, BE, BR, CA, CL, CO, DE, EC, FI, FR, GB, IE, IT, JP, MX, NL, NZ, PA, PE, PL, PT, US. Add `?region=XX` to this URL for another country. ## Awards - Academy Awards 1998: Best Cinematography (nominated); Best Director (nominated); Best Film Editing (nominated); Best Original Dramatic Score (nominated); Best Picture (nominated); Best Production Design (nominated); Best Sound (nominated); Best Supporting Actress (won); Best Writing, Adapted Screenplay (won) - Silver nugget for the best foreign film 1998: Silver nugget for the best foreign film (won) - Dallas-Fort Worth Film Critics Association Award for Best Film 1997: Dallas-Fort Worth Film Critics Association Award for Best Film (won) ## If you liked this - *The Big Heat* (1953), Fi1m 86: For another hard look at police violence and the comforts of revenge — [Fi1m page](https://film.one/film/the-big-heat.md) - *High and Low* (1963), Fi1m 90: For a patient investigation that makes money and social standing matter — [Fi1m page](https://film.one/film/high-and-low.md) - *Chinatown* (1974), Fi1m 93: For another Los Angeles mystery where influence determines who gets hurt — [Fi1m page](https://film.one/film/chinatown.md) - *Memories of Murder* (2003), Fi1m 91: For detectives whose certainty is considerably more dangerous than their ignorance — [Fi1m page](https://film.one/film/memories-of-murder.md) - *The Long Good Friday* (1980), Fi1m 88: For criminal authority made fascinating by a man struggling to retain it — [Fi1m page](https://film.one/film/the-long-good-friday.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/l-a-confidential