User reviews

this is one of the best murder mystery,psychological suspense films i have ever seen.this thing will keep you riveted and guessing right down to the end.this movie belongs to Edward Norton,who plays an alter boy accused of murdering a priest.this is an early film with Norton,in fact his first feature(big screen)film.his talent is undeniable even back then(1996).there a lot of layers to this movie and a lot going on.there are also a lot of plot twists and some red herrings(false clues)to help lead you to the wrong conclusions.Richard Gere is also in the film and he does good in his role,as does Laura Linney in her role.but like i said,this is an Edward Norton film.the success of the movie hinges on his performance.he delivers in a big way,so the film succeeds.i don't think you can go wrong with this film.i urge you to check it out.for me "Primal Fear" is a 9/10

Although Richard Gere has one of his juiciest roles in Primal Fear, the best performance by far is that of Edward Norton who got the film's only Oscar nomination for Best Supporting Actor in a stunning debut picture. It's the kind of debut that any player would like to make and the trick is to keep up a high standard you've already set for yourself. Which Norton to his credit certainly has in his career.

But as to Gere he plays Martin Vail, a top criminal defense attorney who will let everyone know it if they haven't figured it out. It's a tricky part because a guy this arrogant has to maintain some kind of surface likability or else you'd never believe he'd ever win a case in front of a jury. As for movie viewers they must have a rooting interest for him as well. But Gere's definitely a guy who they make lawyer jokes about.

A young altar boy has murdered the archbishop of Chicago, a mush mouth kid with a Kentucky twang played by Edward Norton. He's part of a choir of street kids that the Chicago archdiocese shows off on many an occasion. It was a particularly brutal murder, multiple stabbings and the carving of a cryptic message in the chest of the deceased.

Gere makes no bones about it, he's wanting this case because of the headlines it will bring him. But when F. Lee Bailey or Johnnie Cochran offers to defend you for nothing, you don't ask questions.

Which brings us to Norton who has you might have gathered is not all he seems. He's a street kid and he's used to getting over on people himself. It's one of the darkest characters ever done on screen, maybe a bit too dark for Academy tastes. That might have been the reason that Cuba Gooding beat out Norton for Best Supporting Actor with his much lighter role in Jerry Maguire.

One in this film you will notice are Laura Linney as the Assistant District Attorney who Gere was once involved with and is getting a lot of pressure to bring in a guilty verdict for understandable political reasons. I also liked Alfre Woodard as the very patient judge at Norton's trial and Frances McDormand as the psychiatrist who examines Norton.

If you think you've figured out what's behind Primal Fear, rest assured you haven't from this description. Let's just say everyone gets good and played here.

Which brings to mind the dedication for this review. Gere's attorney character is likable, but arrogant. Back in the day I knew an attorney who was arrogant without any real reason for the arrogance. He'd love to have been Richard Gere, I'm sure he saw himself that way. So to you Ron D'Angelo this review is dedicated to.

If you want to see excellent acting in the service of an involving well told story this is a good place to start. Across the board there is not one weak performance. Gere has one of his very best roles as a fame loving attorney who chases a headline case that is more than he bargained for. He and the Laura Linney spar and parry both in and out of court with wonderful brio, she is his equal even if he is loath to admit it and the actress's personal strong persona fits the role perfectly. In a star making performance Edward Norton grabs his part by the throat and runs with it, a brilliant job and one that marked him as a true talent to watch. Each secondary roles is filled with top drawer character actors-Frances McDormand as an understanding therapist, Maura Tierney and Andre Braugher as Gere's assistants and on and on all deliver quality work. Alfre Woodard deserves special mention as the no nonsense slightly cantankerous judge who tipples a little on the side. She takes what could have been a throwaway part and makes her both memorable and humorous. A little overlong you won't notice so good is the acting and once it gets going the story keeps the interest level high.

Primal Fear (1996)

Part Mind Game, Part Courtroom Antics

A fast paced film with Richard Gere in the kind of role he does best (an arrogant lawyer) and with Edward Norton in a startling performance as a potential criminal worth the admission alone. That there are familiar tricks and tropes and a subplot of almost no significance might be expected--it's not a great film by any measure--but it's packaged well and never flags.

There are some secondary characters who don't quite click into the film, mainly the opposing lawyer played by Laura Linney, who can be really good. The law office sidekick (Andre Braugher) is thin, the psychologist (Frances McDormand) is strong enough but has a canned role, and the tough and predictably evil politician (John Mahoney) all keep the film in the box. These are talented people, so maybe we can shift to the direction by Gregory Hoblit, as able as it is, failing to make the movie first rate, depending on surface effects and following a plot line that is just a variant on other plot lines. In fact, Hoblit's creds to this point are a few high quality television episodes, and there is a feel of an overblown NYPD Blue or something to this movie.

But there remains one main twist, pulled off brilliantly, brilliantly, by Norton, Gere in tow. It's a completely enjoyable trip, if your expectations are in line.

PRIMAL FEAR was a surprisingly effective courtroom drama which will always have a place in history because of the electrifying performance from Edward Norton in his first major role. Norton is nothing short of astonishing as a former Chicago alter boy who has been accused of murdering a celebrated priest with a checkered past. Richard Gere has one of his best roles as Martin Vale, an arrogant yet capable attorney who agrees to defend Norton because of what the victory would do for his resume more than belief in the young man's innocence. It is the complicated twist and turns of the trial, Gere's surprisingly solid interpretation of a rather complex character and most of all, the amazing performance of Edward Norton, which earned him an Oscar nomination for Best Supporting Actor that, that make this film sizzle. Mention should also be made for a strong supporting cast including Laura Linney as the prosecuting attorney and former protégé of Vale's, Alfre Woodard as the judge, Frances McDormand as a court-appointed therapist, and Andre Braugher as Vale's leg man. Steve Shagan's solid screenplay and Gregory Hoblit's uncompromising direction are the final touches on one of the better courtroom dramas of the 90's but what you really go away from this film remembering above all else is the performance by Edward Norton that made him a star.

I was convinced that "Primal Fear" would be the type of courtroom drama that Hollywood seems to use to pave the streets with. You know what I mean: Someone gets wrongly accused of some mischief, he can't pay a lawyer, but of course there is one who is really interested in the case and he is prepared to defend the poor guy anyway. The defender finds some wholes in the police investigation or in the statement of the other party and knows to prove the innocence of his client and even get a big indemnity. Well, I was wrong, for once this was a courtroom drama that had a bit more to offer than the usual story line and twists. In fact, this was even a very enjoyable movie.

Even though I'm not really a fan of Richard Gere (I'm not a woman, so no I don't like him because the way he looks, I only look at his acting), I have to admit that this time he really did a very good job as the slick, media-friendly, arrogant lawyer Martin Vail. Still, in my opinion the real star in this movie is Edward Norton. He's really excellent as the altar boy who is accused of murdering a Catholic bishop.

For once the story isn't as predictable as usual. At first the case seems rather clear: an altar boy is running away from the home of the bishop, with blood all over his clothes. No doubt about it you think, he did it, case closed, next movie! But than the first interesting twist in the movie appears: Yes, he was at the murder scene, but he can't remember anything about the grisly murder, because at that exact moment he got a blackout. He's convinced that there was a third person in the room. That third person must have killed the bishop, he's innocent. His lawyer tries to prove the third man theory in the court room, but as the process comes nearer to the end, some new evidence will make everything a lot clearer and more interesting...

As I already said, this movie is more than just worth a watch, thanks to the rather innovative story line and characters. For once, this movie didn't annoy me more than I could ever like it. That's already worth a lot, so I give it a well deserved 8/10.

My fiancée suggested I watch this, and when we found it for sale at a good price, we bought it right away. I must say, this is a marvelous and quite well-crafted film. The acting is top-notch all the way. Gere manages to make us care about a type of person that few like. O'Quinn is somewhat underused, as he is a magnificent actor, but apart from that, everyone gets a good chance to perform well, and they all live up to it. I would have to say that I now have a completely new-found respect for Norton... and I had a great deal of respect for him before even knowing of this movie. The plot is well-written and has good layers to it, especially for a movie of two hours(running time does put quite a limitation on the level of detail and intricacy of the plot). The pacing is really good, the movie never moves neither too fast nor too slowly. This is the second film I've seen that was directed by Gregory Hoblit... and the second that I've really, really liked(both have received 8's by yours truly, and very deservedly so), so I will most definitely keep an eye out for any future works by the man. I haven't read the book of the same title that this is based on, so I can't comment on how accurate and true to the tone this film is. I urge anyone intending to watch this to steer clear of any spoilers on it, because the plot is too good to ruin. I won't detail it here, I'll just say that the film has many court-room scenes, and deals with a very violent crime(and it's not the only occurrence in the film of a violent nature). For that same reason, since it is depicted graphically in the film(but not too much... there was nothing gratuitous about it), I urge anyone who believes they may not be able to handle seeing such to consider if they should watch it or not. There is also quite a bit of language, as well as a brief scene of sexual nature, so if such bother you, you may want to watch a censored version, if you are interested in seeing it. I recommend this very warmly to any fan of court-room dramas and thrillers. If you enjoy an engaging and involving thriller with surprises, this is the movie for you. 8/10

This movie did for Edward Norton, what Usual Suspects did for Kevin Spacey. It's a great performance in both cases. But the bigger star in both cases is the writing. I could watch both of these movies on repeat. So good.

I wish they had the budget to do these mid-budget feature films nowadays. It makes me sad that the death of DVD killed the mid budget level movie. The only movies they make nowadays are the big tent, pole movies, or the super mini budget that a studio has nothing to do with. In other words, someone's grandma paid for the film and you're praying that it comes out OK. Classic films that won't be made again at this budget level:(

It's not often that viewers get a chance to watch a star being born - that a talented unknown actor's performance that is so spectacular it leads to the A-list in one role is rare: Julia Roberts in Pretty Woman, Brad Pitt in Thelma & Louise to name a recent few. But Edward Norton's turn as the "defendant/victim" in Primal Fear is one of those "Wow" moments that leaves the audience salivating for his next performance. In this feature debut, Norton outdistances his role, as does Richard Gere, in a resurrection no less impressive than Norton's star-making turn. Heretofore, Gere has specialized in assorted intelligent professional cad roles. Here, he gets a chance to inhabit one that not only wears his dubious character on his sleeve, but wears it, drives it, drinks it... revels in it. Yeah, sure somewhere there's a heart of gold, but like his client, the layers on top serve him better, and the heart of gold is tarnished. Gere is at his peak, comfortably, cheerfully inhabiting the role.

Laura Linney deserves extra credit for often being the ice-queen foil which propels the two male characters' development; her own character is rather one- dimensional, but she herself squeezes as much dazzle as she can from it. Even though everyone else obviously falls for whatever Gere's Vail purrs into their ears, it's merely enough time for Linney's Janet to get a drag on her ubiquitous cigarette; another step in what will (hopefully) someday be film's love affair with her. Wasted, sadly, are fine character actors like John Mahoney, Steven Bauer, Maura Tierney & Andre Braugher who could have lit up the screen had they not been handed scripts with generic character stereotypes.

See it to watch the ascension of Norton and Gere.

Into big city Chicago political corruption and moral decay comes an ingeniously deceptive sociopath from nearby backwoods Kentucky who we see at the opening as an altar boy singing in an all boy church choir that's performing for the city's elite at a social fundraiser for charity. Like another Gregory Hoblit film (Fracture), you have to accept a certain amount of implausibilities. Like the murder itself, for instance, around which the film evolves. But also like Fracture, this is another (earlier) and surprisingly good take on lawyers and prosecutors (Richard Gere and Lara Linney) and the elusive perfect crime. As well, is the part played by Edward Norton. He's got that backwoods hardscrabble menace down about as well as anyone since those Georgia hillbillies in Deliverance.

Martin (Richard Gere) is a very successful attorney in the Chicago area. However, his workaholic and limelight-seeking tendencies ruined one relationship with an underling (Laura Linney). Now comes the case of all cases. The archbishop of Chicago has been brutally murdered and the suspect is an innocent looking vagrant named Aaron (Edward Norton). Martin decrees that he MUST represent Aaron so he offers the young man his services pro bono, knowing the publicity for the trial will place them both squarely in the news for weeks and weeks. Yet, there is much evidence against Aaron. Despite his stuttering and guiltless demeanor, is Aaron truly not the killer? And, what is more important, justice or winning a case? This is a great, great movie, in many diverse ways. First, the performances are outstanding, with Gere giving a fine turn as the hotshot lawyer and Norton truly jawdropping as the murder suspect who looks like a choirboy. Linney does a nice turn as the district attorney and the other cast members are very well chosen, too. The Chicago setting shows the place as it is, a mixture of both wealthy and dismally poor neighborhoods. Costumes, especially Gere's lawyer garb, are very nice. Then, too, the script, based on a novel by William Diehl, is first rate and full of twists and turns, with a stunning maneuver at the finale. There are a few brief scenes of graphic violence, as the murder itself comes quite near the film's beginning, so there may be moments when you need to look away from the screen, if you are a bit squeamish. Also, if you are Catholic, there may be some parts of the story that are a bit offensive. But, all in all, if you love Gere or you long for interesting, intelligent thrillers, you should not miss Primal Fear. Why don't you speed off toward the video store and pluck this winner from the shelves tonight?

Since I saw "Fight Club", I have never witnessed such a performance by this great actor named Edward Norton. The great performance of the "double sided blade roll" of Aron/Roy is done with extraordinary finesse since he is known for his dual-sided acting skills when playing calm/aggressive or good/bad figures. Putting aside the fact that I heard and read about the big sacrifices that Norton did for the filming of "Fight Club" (losing 20 kilos and gaining the fit and full of muscles body in just 40 days) I wouldn't bee so amazed of the Aaron/Roy performance in "Primal Fear". Edward Norton leaves us stunned again. He plays the role of a 19 years old altar-boy in a catholic church with such a grace, that even a bad-ass serial killer would be jealous. Seen the movie, loved the performance and did another bow to Edward Norton!

A beloved archbishop is brutally murdered, and an altar boy (Edward Norton) is seen fleeing the scene, covered in blood. All evidence seems to point to the boy as the culprit. A stereotypical Richard Gere/Tom Cruise character (played by Richard Gere), a hot-shot, high-powered, ruthless attorney, decides to go for even more fame and fortune and defend the boy.

Everyone in the city, nay, the universe believes Aaron Stampler is responsible for the slaying, which of course isn't just a cold-blooded mow-down; no, it's also mutilation, as numbers were carved into the archbishop's chest and his eyes were gouged out. But Martin Vail (Gere) believes he can get his client cleared of all charges; his thoughts on Stampler's actual guilt, he thinks, are largely irrelevant.

Opposing Vail as the prosecuting attorney is an ex-flame, Janet Venable, played by Laura Linney. (Side question: Has anyone seen Laura Linney and Joan Allen in the same room?) Oh sure, of course she's an ex-flame, because otherwise it'd be tougher to build up sexual tension between the two lawyers, which you apparently must have in courtroom dramas nowadays. The character of Venable seems to exist basically as a foil to Vail; she stomps about angrily, trying to assert herself as a woman lawyer while under the constant threat of job endangerment while somehow avoiding the incredible, awesome charms of Vail himself. I'm sure it was tough.

Vail's gotta find a way to give the jury a reasonable doubt. At his service he has trusty employees played by Andre Braugher and Maura Tierney, but there's only so much they can do. Just when Vail thinks he's succeeding, he's smacked over the head with reality; in other words, like most any other courtroom drama you've ever seen. Will Vail prevail? Did Stampler do it? Well, there IS a twist to the movie; two of them, actually. The first comes a little more than an hour into the movie, after an analysis by a shrink (Frances McDormand); the second, naturally, comes in the waning minutes of the film. Neither is Earth-shattering, and you might even be able to see the second one coming from a few miles away.

On the plus side, Gere seems to be having plenty of fun. I know, it's such an unusual role for him, the know-everything Superman who's just sooooo much better than anyone else and doesn't mind letting people know. Quite a departure from his other roles as a know-it-all cadet (An Officer and a Gentleman), a know-it-all stockbroker (Pretty Woman), and a know-it-all reporter (Runaway Bride). Still and all, he turns in an engaging, appealing performance. It's not like he'll knock your socks off with his emoting; it's more like he's just kind of fun to watch. Linney, who's very talented, does a good job as well, although she would get an eerily similar role in 2005's The Exorcism of Emily Rose (reviewed on this site recently). In that film, she was the defense attorney who was trying to assert herself as a woman attorney while under the constant threat of job endangerment. Both movies had the theme of priests in peril; here, it's a murdered archbishop who might not have been an innocent anyway, and in the Emily Rose it's a priest accused of murder by neglect. Well, at least Linney's not being typecast.

Probably the best aspect of the movie, though, is the emergence of Norton as a powerful on-screen presence. This was his first movie, but you'd never know it by his work here. He's not tentative, he's shifty, perfecting essaying his character's plight and innocence. A strong indication of things to come, as it turned out, as he's become one of America's finest thespians.

Overall, Primal Fear is a decent yarn carried by strong performances, but the plot twists are nothing to write home about.

Riveting courtroom drama, starring Richard Gere, with occasional flashes of action. New to me faces that impressed are Laura Linney and Edward Norton, both of whom give outstanding performances against the ever reliable Gere, a sometimes underated star actor.

Kept me on the edge of my chair throughout. One of the best of the courtroom genre films that I have seen.

A coherent script, well directed and edited, leaving me guessing to the end, with a really neat twist in the final stage. Excellent.

"Primal Fear," directed by Gregory Hoblit and released in 1996, is a riveting legal thriller that explores the complexities of truth and the moral ambiguities of the criminal justice system. Based on the novel by William Diehl, the film stars Richard Gere as Martin Vail, a high-profile defense attorney who takes on the challenging case of Aaron Stampler, played by Edward Norton, a young altar boy accused of murdering a beloved priest.

From the outset, the film captivates viewers with its engaging narrative and a strong moral undertone. Gere delivers a compelling performance as Vail, who is both charismatic and morally conflicted. His character is driven by a desire for fame and fortune, yet he finds himself grappling with the darker aspects of human nature as he delves deeper into Aaron's troubling background.

Edward Norton's portrayal of Aaron Stampler is nothing short of extraordinary. His performance is layered and nuanced, showcasing a range of emotion that leaves audiences questioning the truth of his innocence. Norton's ability to switch between vulnerability and chilling calmness creates a sense of unease that lingers throughout the film, ultimately leading to a shocking climax.

The film's pacing is expertly managed, maintaining tension while unraveling a complex web of lies, secrets, and psychological manipulation. The cinematography and score effectively enhance the mood, emphasizing the film's darker themes. As the trial progresses, themes of faith, betrayal, and the quest for truth come to the forefront, making viewers reflect on their own perceptions of justice.

"Primal Fear" also features a strong supporting cast, including Laura Linney as an ambitious prosecutor and John Mahoney as a wise mentor figure to Vail. Their performances enrich the story, providing depth and further complicating the moral landscape in which Vail must navigate.

"Primal Fear" is more than just a legal drama; it's a thought-provoking examination of the human psyche and the nature of evil. With standout performances and a compelling narrative, the film leaves an indelible mark, compelling audiences to ponder the true meaning of innocence and guilt long after the credits roll. Whether you're a fan of thrillers or are looking for a film that challenges your views on morality, "Primal Fear" is a must-watch that stands the test of time.

Following the death of an Archbishop, Aaron (Ed Norton) is seen running from the scene covered in blood. The police arrest him and presume that he's guilty. In the blue corner, we have defence lawyer Martin Vail (Richard Gere) who doesn't believe that Aaron is guilty and therefore he decides to represent him - he does this free of charge knowing that Aaron doesn't have the means to be able to pay him. In the red corner, we have prosecution lawyer Janet Venable (Laura Linney) who is a former colleague and former lover of Martin Vail. Both Vail and Venable set about in their defence and prosecution against Aaron, but who will end up prevailing?

This really was a film of two halves; I thought the first half of this film was fairly generic, someone is killed, they catch the person who they think has done it, that person protests their innocence. It's familiar territory and it had me thinking that it was just going to be a fairly standard legal thriller which wouldn't have been a bad thing, but merely would have just made it an 'average film'. It is in the second half of this film when things really pick up when certain 'discoveries' are made. The second half of the film is much more interesting, exciting, and engaging and when Vail makes this 'discovery' about his client it becomes both a blessing and a curse for Vali in the context of defending Aaron. The second half of the film focuses more on the courtroom battle and like A Few Good Men, Philadelphia, and The Lincoln Lawyer the court room scenes are well executed and fairly engaging.

Then we come to the acting and first we must start with Ed Norton; I couldn't believe that this was his debut motion picture - his performance was absolutely incredible. He's always been good in what's he's been in since, but I actually think his debut performance is one of his strongest. Gere was fairly good in a sort of sleazy and charming type way which is fairly standard for him. Linney also put in a good performance.

There were some minor problems with this film such as Vail's desire to represent Aaron (which is never really explained). I also could have done without some of the soppy moments between Vail and Venable which were cringe worthy and a bit pointless. Having said that, it's still worth watching and whilst it isn't the best legal thriller I've seen, it's still well above average.