Homicide

At times Mantegna's character seems little more than his dilemma, but Mamet's stylized dialogue crackles urgently and colorfully, each word landing with a weight you find only in good writing. The dislocation accelerates compellingly into ironic absurdity as Mamet lets his cop swing in the wind in this mordant parable of wrong things done for right reasons. There have been a lot of cop movies, but never one like Homicide. It has a way all its own of raising your consciousness by whacking you in the head. [18 Oct 1991, p.33]

Purposely out of step with the feel-good-movie era, he offers caustic wit instead of gags, blunt questions instead of glib answers and challenges instead of reassurances. Bless him.

Homicide isn't easy to take, but its vision is chillingly persuasive. [18 Oct 1991, p.B]

The thematic development is a clever move on the filmmaker’s part, though the plot’s revelation comes as a heavy blow, not swift enough for the film that frames it.

Mamet’s direction gives much of the film a bracing, refreshing tone as he works to express the shattering tensions of Gold’s work.

It's sad that HOMICIDE goes so drastically off the rails, because the first half of the film is a positive joy.

Homicide, which refers to metaphorical as well as literal murder, may be Mr. Mamet's most personal and deeply felt work. It's also his most blunt and despairing. Both "House of Games" and "Things Change" deal with conspiracies of some sort. Yet the scam that is the center of this film is unconvincing.