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

Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

This is a gorgeous movie made by a gorgeous spirit.

The two criminal investigations that are launched early on in this crime drama provide the backdrop for an even more powerful story that unfolds as a homicide detective becomes embroiled in a journey of self-discovery that leads to his downfall. Issues of race, religion and loyalties suddenly loom large as he tries to come to terms with his own identity and in the process, loses his objectivity and his professionalism. The consequences of his actions then prove to be far more devastating than he could ever have imagined as he gradually comes to recognise "the nature of evil".As Homicide Detectives Bobby Gold (Joe Mantegna) and Tim Sullivan (William H Macy) speed through the streets of their city on their way to speak to the brother-in-law of a dangerous drug dealer/cop killer, Gold feels highly motivated because he knows that if they can apprehend Robert Randolph (Ving Rhames), they'll gain plenty of kudos and recognition, not least because this particular criminal had previously humiliated the FBI by escaping their clutches, even when he was massively outnumbered by them The detectives' journey gets interrupted, however, when they come across another crime scene and Gold discovers the dead body of an elderly Jewish woman behind the counter of her candy store which is situated in a black ghetto.Gold's frustration about being delayed in his pursuit of Randolph soon heightens after he gets assigned to the murder case because the victim's son, who happens to be a wealthy doctor with friends in high places, was able to pull the necessary strings to make this happen. The doctor's motive for doing this was because he believed that, as a Jew himself, Gold would recognise that the murder was a hate crime rather than simply a "robbery gone wrong". Gold, who's first and foremost an honest cop, tends to believe that he's dealing with a straightforward murder case and initially regards the victim's family as rather hysterical and paranoid.In his subsequent dealings with the Jewish people he encounters, Gold is regularly patronised, treated contemptuously and repeatedly urged to abandon his normal neutrality and do whatever is needed to protect his own people. As Gold is a non-practising Jew who has never previously felt particularly Jewish, he starts to think more deeply about where his loyalties should lie and as well as starting to believe in the existence of a conspiracy, allows himself to be recruited into a militant Zionist group with whom he participates in the bombing of a property which is being used by a Neo-Nazi group. The group that he'd worked with then use his commitment to their cause to blackmail him and the slippery slope that he finds himself on, eventually leads to him being given a knowing glance by a man who, some time earlier, at a time when he wasn't interested in listening, had offered to tell him how to solve the problem of evil.Joe Montegna does a fantastic job of making his character's malleability seem credible and is even more accomplished in the natural way in which he looks so ashamed when Gold suddenly realises that an anti-Semitic rant he'd indulged in had been overheard by a member of the doctor's family. William H Macy is perfect as Gold's Irish partner who keeps his feet firmly on the ground at all times and Ving Rhames makes a strong impression in his important supporting role.The movie's story is told with great precision, intensity and pace and the kind of mesmeric quality that's a familiar feature of David Mamet's work. It's fascinating to watch and for some unaccountable reason, despite its numerous merits, still remains criminally under-appreciated

I watched this film dumbfounded. Its convoluted plot and confused ending leaves me speechless and annoyed that I watched this drivel. It fails to be clever on all levels and is absolutely unbelievable. ps note to all directors - it's no use hiding behind a police car in a shoot out. Oh i now need to add some more notes because unaccountably my earlier submission above was not adequate, Well the character development of such a boring star is impossible. The detectives are so stereotyped as to beggar belief. The use of cut away shots to explain problems such as dropping/losing a gun are juvenile. Enough said. And just for luck I did not enjoy it.

David Mamet's "Homicide" stars Joe Mantegna as Bobby Gold, a homicide detective who is in the process of tracking down a ruthless drug dealer. As the film progresses, however, it breaks away from the crime genre and becomes a haunting examination of self-identity. Bobby, it turns out, has spent his life being bullied for his Jewish ancestry. This has led to feelings of low self worth, anxiety and isolation. As a result, Bobby joins the police force, a conscious attempt to abandon his roots and become a "public servant" of America. More insidious, though, is the implication that those persecuted for a perceived weakness themselves seek power and the authority from which to dispense violence.Believing his Jewishness to be the reason for his constant persecution, Bobby adopts a completely new persona, often swearing and insulting Jews. He abuses to fit in. But even in the police force Bobby is bullied. Alienated, he becomes a self-hating Jew, constantly trying to prove his worth and gain acceptance.The film's second act finds Bobby being given the opportunity to help an underground Zionist organisation responsible for bombing neo-Nazi sleeper cells. Unsurprisingly, he is seduced by the power and confidence these Jews exude, and wishes to join them; he seeks to symbolically reclaim his Jewish roots.Typical of Mamet, the film then reveals itself to be an elaborate con game. The Zionist organisation is merely using Bobby as a means of getting at a list hidden in police storage. They blackmail him and force him to make a choice: serve the Jews or serve the police. This, of course, is hugely subversive, especially in light of Spielberg's big Holocaust list movie released some years later.The film's final acts find Bobby being forced to choose between being dutiful to the police force (and by extension the US) and being dutiful to Israel (and by extension his ancestors). He chooses the former, but to no avail. Due to several unfortunate events, Bobby fouls a police operation, loses his partner and gets shot in the leg. He is then demoted, the film ending with Bobby shunned by the police force and bitter at being used and mismanaged by his "Jewish brothers". Without friends or family, and betrayed by the Zionist organisation, Bobby becomes further alienated; a wandering Jew, forever without country, family or roots. It's a very depressing ending.In the film, three demands are placed on Gold: to be a Jew, to understand evil and to do his job. Mamet shows that evil is the betrayal of self (the defamation of oneself in the hope of gaining recognition). In this regard, Gold's name is itself symbolic. He does not recognise his own worth, relying instead on outside validation, an act which symbolically results in "gold" turning into "mud".Elsewhere Mamet makes several parallels between conspiracies directed against the Jews and various forms of persecution against blacks. The film's title, "Homicide", is itself a pun. Here it means "death of the home".Other interesting things abound. Roger Deakins' cinematography is gorgeous and Mamet, as is typical, undermines genre conventions at every turn. He has his police hero constantly falling when doing "cool action jumps", police squad cars skid fancifully to a halt for no particular reason, dramatic showdowns occur with something as trivial as a dog and the police officers are always apologetic and polite after insulting one another. And of course, as is expected, Mamet's dialogue is a delight to listen to. It's rhythmically sloppy.In many ways this is Mamet's last film. After "Homicide" Mamet would write a book in which he explains his new philosophy of film-making. From this point onwards he would strip his films down drastically. The lighting would be flat, the dialogue would be direct, the camera work would be virtually non-existent and the music would be minimal.Consider this line from Mamet's book: "Acting should be a series of simple physical actions. If the actor wants to know how he should walk to a door in the scene, the director should tell him, 'Go to the door,' and, if the actor presses on: 'Go to the door. Quickly.' Don't act. Don't emote. No motivation. No back-story. No character arc. No discovery. These are indulgences that cannot possibly be manifested physically. Just go to the door. Quickly. Cut. Print. Go home."Mamet's new found philosophy – which he calls "heightened logic" - is important in understanding why his films are so self consciously artificial, why his stories all revolve around elaborate cons and why he directs such trashy material. On the surface, Mamet's films are all about con-jobs, but covertly, they're all about Mamet's true passion: language. Language is often – if not inherently - selfish. To talk, especially in the way that Mamet's characters talk, is to con. Stunted half sentences and droning repetitions aren't there just for the fun of it. They are successful and less successful attempts at persuasion.So thematically, Mamet's films are all about "words". Post "Homicide", however, his directing style evolved in such a way as to eradicate everything that detracts from his words. By removing music, cinematography, acting, sound etc, you've essentially cancelled out the director's "vision". And after you've cancelled out a director's "vision" and an actor's "interpretation", nothing remains but the writer's words.Another reason for the drastic change in style (post "Homicide") is Mamet's belief that neither film nor art has the power to educate audiences, change views or teach. Art, in his very pessimistic view, merely affirms the wisdom of the wise and ignorance of the ignorant. So instead of "content", Mamet's films have avoided "issues" entirely and become preoccupied with a kind of Zen like professionalism. His scripts are attempts to perfect the "word". An effort to keep on working, for no better reason than to hone one's personal skills.8.5/10 – See Melville's "Army of Shadows" and Lumet's "The Pawnbroker".

This movie is a class in movie-making 101, even on the cheap. Mamet shows what a great film you can write and produce with the most basic of sets. Half a dozen great stage and movie actors and excellent and basic staging.Mamet's writing style is poetry. At times, it is like watching something between an opera, a ballet and a Baptist church service. The call and response style to Mamet's writing is simple, pure and elegant. Mamet's cast of regular actors, also notably seen in "House Of Games" is superb.The original, sparse music adds a nearly documentary feel to the film. You can still find this in the "used" internet movie web sites on VHS for a buck and a half. THis is a great film and a great teaching film for aspiring film writers and directors.