Joe Carnahan Returns to Crime Drama with The Rip
Joe Carnahan is well-known for delving into crime photography, especially with themes involving cops, informants, and assassins. His latest Netflix film, The Rip, brings him back to this familiar territory. The inclusion of Matt Damon and Ben Affleck highlights Carnahan’s talent for revamping actors’ personas. The last time these two were seen together, they were navigating the Nike offices in Air; now they find themselves in the role of corrupt cops, undoubtedly wrestling with their own moral dilemmas. Sure, Damon and Affleck could have pulled off these roles without Carnahan’s direction, but he’s known for nudging performers to explore deeper, edgier aspects of their characters.
Take Ray Liotta, for instance. His portrayal of an intense character in the 2002 film Narc seems almost like a predictable choice for him. Liotta has rarely been associated with light-hearted romantic comedies, though he did infuse menace into roles like that in Something Wild. Most of the time, when he shows up in more comedic settings, it’s with a wink to his reputation established by Martin Scorsese’s classic, Goodfellas.
Reflecting ten years later, what remains from Carnahan’s work on Narc? The film had made waves during its festival circuit, even briefly considered an Oscar contender but eventually overshadowed by powerhouse performances from others. Joe Pesci and Lorraine Bracco had taken center stage in Goodfellas, leaving Narc as a darker, less mainstream option, albeit with its own unique appeal.
The reason for lingering hope regarding awards seems straightforward: the impact of films like Training Day. Denzel Washington’s performance in it skyrocketed his career after winning an Oscar. In Narc, Jason Patric plays Nick Tellis, an undercover detective grappling with the fallout of a failed mission. He’s tasked to work alongside Liotta’s character, Henry Oak—an unstable figure still haunted by his own investigations. While Oak lacks the aggressive force of Washington’s character in Training Day, the tension between him and Tellis is palpable.
More than two decades after its release, Narc still strikes as a gritty snapshot of Detroit’s underbelly—snowy streets, visible breath, and tense interrogations. Some elements, like a shaky camera chase and Liotta’s explosive performance, maintain a certain rawness. Yet, it’s also recognizable as a stylish neo-noir, presenting classic crime film aesthetics in a refreshing manner.
Carnahan uniquely captures the first exchange between Oak and Tellis in a dim diner, emphasizing a more nuanced interaction rather than an immediate conflict. The characters don’t clash until the film nears its conclusion, and while Oak shows signs of instability, he doesn’t immediately come off as entirely unhinged. In one revealing scene, Oak opens up about his late wife, giving depth to his character—an effective portrayal that elevates the conventional crime narrative. Reflecting back, the film feels less polished but holds its place as a modest indie production.
Oak’s character development might appear somewhat predictable, yet Liotta manages to deliver those emotional beats with effortless authenticity. However, the competition was fierce in the 2002 awards season, and Liotta’s name was ultimately overshadowed by actors like Adrien Brody and Daniel Day-Lewis. With so many prominent nominees, it’s no surprise that Liotta’s chance at recognition didn’t materialize, especially considering Narc wasn’t of the same ambitious cinematic level as Scorsese’s works.
Looking back, Narc played a significant role in Liotta’s evolution as a gritty character actor, transitioning from lead roles in the ’90s to more complex supporting performances in subsequent years. For Carnahan, this film marked a turning point in his own career, allowing him to explore darker themes with an eye for remarkable performances, particularly from Liotta.
