Jeremy A
Lynch let Nick out of the Cage (sorry) Very fun Watch 4*
Rated 4/5 Stars •
Rated 4 out of 5 stars
04/11/25
Full Review
steve d
Pretty good. I saw the original with Harvey Keitel but never knew about this one. Just saw it on Prime and gave it a chance. Cage is good as usual. Story is decent. There's a few weird directing choices but dosent ruin it. Cant really compare it to the original because they are like night and day. Original is darker. If you can't decide on a movie and see this give it a shot.
Rated 3/5 Stars •
Rated 3 out of 5 stars
04/08/25
Full Review
Don H
I agree with those who found the film scattered and unfocused. But in addition to that, I spent most of the film hoping the lead character would get killed, hopefully in a painful way.
Rated 1/5 Stars •
Rated 1 out of 5 stars
01/09/25
Full Review
Andy B
This is a remake of the 1992 film starring Harvey Keitel with the action moved to a post-Katrina New Orleans.
The plot is much the same as the gambling, drug addict cop sinks deeper and deeper as his debts mount.
The major difference is that this film seems to try and make the film more acceptable to its audience: Cage is given an excuse for becoming an addict, he manages to actually pay off his debts, he redeems himself by solving the crime (sort of), he gets promoted and (apparently) redeems his prostitute girlfriend. The religious imagery from the first film is abandoned and because of it, the hallucinations become more comedic than important.
The biggest problem is Cage. It’s actually very difficult to see the difference between his normal performance and this one. So it has far less impact.
It’s not a bad film, but not a good remake.
Rated 3/5 Stars •
Rated 3 out of 5 stars
12/21/24
Full Review
Audience Member
I haven't even watched the movie but there are some scenes I saw on youtube and they were really good.
Rated 3/5 Stars •
Rated 3 out of 5 stars
10/16/24
Full Review
Rafaelle L
Bad Lieutenant: Port of Call New Orleans as a Commentary on Jazz
Werner Herzog’s Bad Lieutenant: Port of Call New Orleans (2009) might not immediately appear to be a commentary on jazz, but if you view it through the lens of improvisation, chaos, and the resilience of spirit, it becomes a kind of cinematic jazz composition. Much like a jazz performance, the film embraces dissonance, allowing its protagonist, Terrence McDonagh (played by Nicolas Cage), to riff wildly through the narrative like a soloist lost in a frenetic improvisation. The movie’s unpredictable shifts in tone and rhythm, its mix of absurdity, beauty, and decay, mirror the essence of jazz itself.
At its core, jazz is about tension and release, about finding harmony amid chaos, and that is exactly how the film unfolds. McDonagh’s journey, spiraling into addiction, corruption, and delusion, echoes the improvisational structure of a jazz piece—where each note or decision threatens to fall apart but somehow resolves into something new. Cage’s performance feels akin to the great jazz solos: erratic, sometimes off-kilter, but undeniably compelling. His portrayal of a man constantly walking the tightrope between brilliance and madness captures the essence of jazz’s precarious balance between structure and freedom.
New Orleans, the birthplace of jazz, is the film’s backdrop, but Herzog’s vision of the city post-Hurricane Katrina is a broken, surreal version of its former self. Much like a jazz tune performed in a minor key, this setting speaks to resilience amidst ruin. The film captures New Orleans in all its contradictions—the decay, the humor, the bursts of life that refuse to be drowned by disaster. This is jazz in visual form: the survival of beauty in the wreckage, the soul of the city speaking through its fractures.
The surreal moments in the film, such as the infamous scene involving hallucinatory iguanas, can be seen as Herzog’s experimental interludes—improvisational asides that, like a jazz musician’s wildest flights of fancy, challenge the audience to follow along with the unusual beat. Herzog, much like a jazz composer, layers unexpected sounds and visual rhythms into his narrative, pulling the viewer into a space where reason and absurdity coexist.
In this way, Bad Lieutenant: Port of Call New Orleans serves as a cinematic reflection of jazz’s ethos: embracing unpredictability, finding new paths through familiar structures, and capturing the raw, untamed beauty of life in its most discordant moments. It’s a movie that, much like jazz itself, asks us to find meaning in the chaos, and to appreciate the moments of grace that rise from it.
Rated 5/5 Stars •
Rated 5 out of 5 stars
09/22/24
Full Review
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