Pretty good movie overall. First half was nothing special but it got better as it went along.

If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Coming in at thee hours,Prince of The City must rate as one of the longest films I've seen; and it's certainly one of the best New York cop thrillers out; maybe one of the best cop thrillers, period. Sidney Lumet picks up and develops from the earlier themes he started with Al Pacino in Serpico - although the moral certainties displayed in that film are noticeably absent here.Based on Robert Daley's novel of the same name, and the experiences of cop turned crime novelist - lecturer the late Bob Leuci, Prince of The City makes compelling viewing. Detective Danny Ciello of NYPD's Special Investigation Unit - specialising in narcotics and organised crime; working city wide with no external supervision, one character notes, starts to experience a series of qualms about the more ''unorthodox' aspects of his work. After a couple of false starts, he agrees to cooperate with a federal commission, under the illusion he can pick and choose his targets and keep his partners in the clear.He soon finds that much more will be expected of him and that his new colleagues are neither reliable or trustworthy.Treat Williams puts in a first class performance as the increasingly tormented Ciello, the late Jerry Orbach is a powerhouse as the partner (one of several) he will betray. Danny's decisions have tragic implications for his family, colleagues and associates. Yet his hands are not clean - sooner or later he will have to face the consequences of some earlier actions....despite his less than truthful accounts.Prince of The City protrays the problems of policing a big city, perhaps any big city, with a gritty realism that most police procedurals only dream about - perhaps rivalled only by The French Connection. It's a having an exhaust journey into man's descent into a foggy morass of grey morality, where nothing is what it appears...and the uncertain redemption that follows.

Most excellent entertainment on all levels. If you love cop stories, action, inside track dialog, mobsters and fast pace thrills and suspense then get to watching this classic right away. You will be very glad it is a long movie as well and not wanting it to end when it does another great sign of a good movie. The characters own their roles and that helps capture the viewer and hold them glued to the screen. Another great test of a good movie is if it has memorable scenes. I have seen this movie and have lost count and will continue to see it periodically. It just has an appeal that goes to work as a good story and makes it that way every time you view it. The music is good and fits the movie theme well. Lots of dilemma in this movie as in conflict. Some of the choices having to be made are on the gut level and we wish not to have to travel this way ourselves. Instead, we watch to see how Detective Daniel Ciello handles it and ask "would we do the same'? Great characters and good balance of cops, district attorneys and power in both worlds. If the DA gets the goods on you, you are toast is well-acted out here yet the main character states quite well that without cops and the risks they take whatever they are there would be no protection past them. In other words you need us so don't kill us off when you catch us doing wrong. Both sides of that coin are presented quite well. In one climatic scene, a group of prosecutors, I mean some pretty powerful guys are all in a room discussing the fate of Detective Ciello. This is one of the most believable scenes to be found and then some too. You can taste the anguish, morale arguments and character above and beyond dynamics as this group not only articulates it well but acts it out too. Very impressive. Imagine if your fate was tied up in that room. Which way would it fall for you? Prince of the City. You can be this in any profession if you are that good.

One of the greatest English language 'cop' dramas ever made. Lumet and Williams take us along a path where almost everyone one might trust is dirty, the fantasy of the 'war on drugs' is forced to confront the reality of the streets and everyday life, and the closest bonds imaginable between men are fractured by a judicial system that is often itself corrupt and impossible to trust.Over the years much has been said about this film and its lack of recognition, especially in light of only one academy award nomination and no wins. I can't speak to why that happened, but I can say that a greater set of awards earned is the almost universal recognition of this movie as a truly relevant and brilliant statement still fresh over time.So many movies from 30 plus years ago are clearly 'showing their age'. Techniques used, scripts employed, acting, even costumes nail most films from c. 1981 to a particular time frame. Viewers must make allowances for the age, a real negative to enjoyment. Not so, Prince of the City. It is as crisp and compelling now as it was when first released. The only real difference between it and contemporary dramas is the ability of people to now enjoy it as a masterpiece and a reference to a great age of directors like Lumet, instead of a 'first run'.Lumet used a huge supporting cast. How amazing is it that so many near perfect performances are offered by actors that either were never heard of again or slipped into a careers that aren't worth mentioning? To me, that is a little bit of proof of the crazy magic of Prince of the City. For some reason so many people came together and jelled into an ensemble that for 167 minutes can still help us suspend time as we live the story with them. Certainly, the reason has to be the masterful hand of Lumet.If you haven't seen Prince of the City but enjoy this genre of film then please see it soon. It's long, so give yourself the required time to enjoy it. Extra points to you, if you watch it with one or more friends that not only enjoys 'cop' dramas but also enjoys great direction, smooth acting, and like to discuss film making in general. You will find great joy not only in the movie but in the conversations it will inspire. No doubt two threads of your conversation will emerge: where can I get more Lumet movies and why didn't Treat get more recognition for his work. Question one is easy to answer, check out IMDb. Number two is a question film buffs have been asking for over 30 years without satisfaction.

Lumet never made a bad film.I'm from the city (Philadelphia) so I can relate to the atmosphere here. And the story of a corrupt cop trying to do well without hurting his friends is a goldmine of possibilities.Treat's gamut of emotions, while seeming a tad OTT, were nothing but enhancement to his scenes. And the script itself was Oscar worthy.The load of supporting characters was great as well. Every one of them was a scene-stealer in their own right.The brotherhood of cops in just about any city probably goes though similar trips. The internal hell they go through was evident here. And the attorneys who claim to be their friends while secretly going their own way was a wake-up call as well.Best scene had said attorneys deciding whether to prosecute. That's when you saw who his real friends were.This is a cop drama with brilliant performances all around. Like most of Sid's films. Unlike most, this is lost in the shuffle. Time for a rediscovery.