In Joe Carnahan’s Narc, the fine line that exists between the law and criminality comes under fearless inspection. Ray Liotta inhabits the character of a veteran narcotics detective like no role he’s ever played before. From the first shot of him (seen through frosted glass inside a police station), he presents a figure laden with guilt. Above all, his performance feels immersive, honest and potent.

Henry Oak (Ray Liotta) works by his own rules (often outside the law) when confronting suspects. Internal Affairs has him under the radar because of his reckless behaviour. His current assignment finds him partnered with Nick Tellis (Jason Patric), a good cop who has been on rocky ground before. The two need to locate and indict the shooter(s) responsible for killing decorated policeman Michael Calvess. The search leads them into some dark places with a killer twist at the end of it.

In my opinion, no cop thriller in recent memory can match Carnahan’s creation for its fascinating dissection of character. The two main characters carry regrets, have their own separate belief systems, and are both passionate about what they do.

A comparison with William Friedkin’s The French Connection (1971) seems apt given that both films tackle the drug trade with a gritty edge. But Narc is much better -- more intense, less fictionalised for dramatic effect.

The film opens like a freight train with a foot chase ending badly. Leads are followed up; conclusions start to manifest themselves as well as a dead end or two. Street lingo can seem too informal or incomprehensible to the untrained ear. Yet, Carnahan ensures that does not happen.

Every frame tells a story. Cinematographer Alex Nepomniaschy uses spotlights, natural illumination, interesting filtration and a host of other techniques to craft a cohesive visual design. With this film the journey takes precedence over the destination. Therefore, John Gilroy’s cutting keeps the audience on the edge.

Executive produced by Tom Cruise, the film oozes authenticity with its up-close and personal depiction of police procedures. Time is taken in terms of showing the rifts between cops and their families. Often, Nick’s wife berates him for missing crucial time with their new-born son.

Then there’s the acting. Quite honestly, Patric stands no chance of being Liotta’s equal. The latter gives a performance which resonates with career-best intensity.

In years to come, when people look for a definition of the crime film, a dictionary reference might just say, “See Narc.” 

(Released by Lions Gate Films and rated “R” for strong brutal violence, drug content and pervasive language.)