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State of Grace

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United Kingdom, United States · 1990
Rated R · 2h 14m
Director Phil Joanou
Starring Sean Penn, Gary Oldman, Ed Harris, Robin Wright
Genre Crime, Drama, Thriller

After a ten year absence, Terry Noonan returns to his old neighborhood in Hell's Kitchen, becoming reacquainted with his childhood pals, brothers Jackie and Frankie, both of whom are involved in the area's Irish mafia. Soon, Terry is torn between his loyalty to his friends and his loyalties to others, as he is secretly working as an undercover cop trying to infiltrate the mafia.

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What are critics saying?

60

Variety by

State of Grace is a handsomely produced, mostly riveting, but ultimately overlong and overindulgent gangster picture.

50

Chicago Tribune by Dave Kehr

The sentiments expressed are really no more noble or refined than those of a Chuck Norris picture, though Joano's style tries to stamp art all over the sequence. It sure isn't that, but it isn't good action either. [14 Sep 1990, p.B]

80

Newsweek by David Ansen

Joanou has an intricate, beautifully built script to work from (David Rabe did a lot of uncredited rewriting) and he unfolds his charged story of violence, fratricide, and betrayal with masterly assurance. [17 Sep 1990, p.54]

70

The New York Times by Janet Maslin

With coolly expressive cinematography by Jordan Cronenweth and an insinuating Ennio Morricone score, State of Grace has a somber and chilling tone that is only occasionally breached.

75

Entertainment Weekly by Owen Gleiberman

The movie has been shot with a pleasingly overripe visual flair, and on its own terms it’s fairly entertaining. Yet it isn’t about anything so much as its own explosiveness.

63

Rolling Stone by Peter Travers

The movie is marred by overkill, especially in the brutal and bloated allegorical ending, which feels lifted, clumsily, from The Godfather. State of Grace is most powerful and gripping when it stays true to the emotions of its characters.

50

Washington Post by Rita Kempley

The blarney and bohunkery builds to a shaky apex of nothingness, then ends with a slaughter in slo-motion, a romantic ode of blood, bullets and body parts.

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