Metacritic Movie Ratings
Rampart Reviews

A sample of reviews from critics across the country.

• 100

  out of 100

  Entertainment WeeklyOwen Gleiberman

  Oren Moverman's Rampart is a terrific film: tense, shocking, complex, mesmerizing.

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• 100

  out of 100

  Chicago Sun-TimesRoger Ebert

  Harrelson is an ideal actor for the role. Especially in tensely wound-up movies like this, he implies that he's looking at everything and then watching himself looking.

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• 80

  out of 100

  Wall Street JournalJohn Anderson

  With Mr. Harrelson, Mr. Moverman has created an antihero of epic proportions and indiscretions.

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• 75

  out of 100

  USA TodayClaudia Puig

  Though the plot can be vague and occasionally convoluted, Harrelson is mesmerizing.

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• 70

  out of 100

  Village Voice

  Here the director pulls off the formidable task of marrying two unwieldy performances: Harrelson's, a volatile and vulnerable feat of showboating, and Ellroy's, whose writing voice is unmistakably the voice of the movie.

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• 70

  out of 100

  The New York TimesManohla Dargis

  A sun-scorched noir, Rampart tells a familiar story with such visual punch and hustling energy that it comes close to feeling like a new kind of movie, though it's more just a tough gloss on American crime stories past.

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• 70

  out of 100

  TimeRichard Corliss

  Harrelson rewards watching; he's no less potent at rest than when he explodes in calculated rage.

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• 63

  out of 100

  ReelViewsJames Berardinelli

  It is fair to argue that, at least in the case of Rampart, Woody Harrelson is better than the material in which he appears.

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• 60

  out of 100

  VarietyJustin Chang

  While the film is drenched in atmosphere and packs a verbal and visceral punch, its relentless downward spiral makes for an overdetermined, not entirely satisfying character study.

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• 60

  out of 100

  Los Angeles TimesBetsy Sharkey

  For all of its punishing pathos, the movie does not have the clean lines and elegance of another cut at crime in this city, "L.A. Confidential" (based on an Ellroy novel). As the day of reckoning approaches, the film spins out of control, careening between convoluted subplots, with the emotional pitch of the piece swinging too wildly.

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