Gary Oldman's facial features don't look much like Ed Harris's; I think the casting director or whoever makes these decisions should try to find actors who have similar faces (if they're going to play siblings). And it's not original: an undercover cop. So what? Although it's been said that there's only a handful of stories and it's not the story itself but the way it's told. The slow mo shootout at the end is questionable. I mean, it's a hard core slow mo shoot out (a la John Woo/Sam Peckinpah) but why did it have to be in a bar? Why not a public place with bystanders getting caught in the cross fire? I suppose the writer Dennis McIntyre (died during the making or shortly after/R.I.P) or whoever made the decision thought it was clever to be 'circular' i.e. have an ending that relates to the beginning. And it was kind of clever and subtle. I'm very critical. Don't get me wrong, State of Grace is a decent film. I've watched it countless times over the years; I like it's themes i.e. facing your fears and the love of money as the root of evil; brother turning on brother, juxtaposed against the catholic underpinnings. And I like it's style. And I like Ennio Morricone's music; it sticks in my head. And it's well acted (possibly overacted). And the photography's good. And it's got a great line up of actors, and New York looks so good in this; captured in such a deliberate way; rarely is there sunlight; it's usually overcast/wet or at night. Phil Joanou's a thoughtful director; those tracking shots....beautiful. Come to think of it, one of the things I like about State of Grace is that it's deep, serious, somber and filled with great actors playing unpleasant, unhappy people whereas there are so many 'upbeat', superficial and shallow films and TV shows (especially TV shows). And you get to see Robin Wright semi nude. And you get to watch Gary Oldman go wild. And Ed Harris's an awesome actor. And R.D. Call (who plays Pat Nicholson) is such a good psychotic; that was good casting.

Few people know of this film, for me it introduces a young Gary Oldman, who stands out in this star laden movie. This came out the same time as other huge movies, so it is a virtual unknown. But I urge you to watch it, for not only Oldman, as an unleashed, crazy mobster, to whom life is always lived on a knife edge. But for Sean Penn, who delivers a double sided policeman, living on his nerves working undercover in extreme conditions. Then Ed Harris, a polished mobster, who I feel never gets justice for his abilities. This is genuinely a top mob film, gone largely unnoticed, which deserves better, (even just for the arson scene with Oldman and Penn), scary, yet electric!. A must see film!.

Just after watching this movie, I thought "How could I never heard of this one before?".This movie is awesome! With a great plot, great performances and casting. We have here one of Gary Oldman's finest performances. We can just blame the time of its release, that came along with Goodfellas and The Godfather Part III. But I tell you, this movie is far better than many gangster movies I have seen that are very respect, I won't tell names, but it is.Don't believe this IMDb rating, this movie is easily one of the best of its genre ever made.

Just caught this on television and was so impressed with the film I felt compelled to write a review. I'm positive we would have heard much more about this film if it hadn't been released at the same time as Goodfellas. Other users have already lauded the superlative performances by Oldman, Penn, and Harris, so I'll save myself the trouble. Like any great film those behind the camera deserve as much credit as the actors on screen.The direction by Phil Joanou is phenomenal. I missed the opening credits, and throughout the film I had the feeling I was watching an overlooked DePalma masterpiece. I was wrong, but if you've seen The Untouchables or Carlito's Way, I think you'll see where I was coming from. Perhaps this is partially due to what might be the finest aspect of the film--the incredible score by Ennio Morricone (who also wrote the Untouchables score).BEGIN SPOILEROne criticism of the film I have seen on this message board concerns the climactic gun fight at the end. Some argue that the scene is contrived. I would argue that a careful viewing reveals deeply rooted theological themes questioning the nature of existence and the divine (hence Terry Noonan's monologue referencing a "state of grace" as an idea, versus the ugly reality of earthly life). The slow motion gunfight at the end is juxtaposed with images of the simultaneously occurring St. Patrick's Day parade and associated Irish Catholic cultural imagery such as the four leaf clover. It occurred to me that what at first blush appears to be a contrived battle in which the hero prevails against all odds, is in fact a cinematic nod to divine intervention (and in that sense it is a deuce ex machina, and a contrivance--although in my mind, a forgivable one). Frankie Flannery fires shot after point blank shot at Noonan, each one of them missing. Noonan stands motionless as the bullets whiz by and does not return fire until Frankie runs out of bullets. Only then does Noonan fire a single bullet, which hits Frankie square between the eyes, killing him instantly. To me, this symbolizes a divine answer to Noonan's existential questions, as well as a nod to the biblical maxim "I am my brother's keeper" (Book of Genesis)--which can be applied with equal force to Frankie, who is punished for committing fratricide, or Noonan, who is saved for seeking retribution on behalf of Jackie, his murdered friend and putative brother.I should mention that I am pretty much an agnostic bordering on atheist, so personal feelings about the merits of religion or the existence of god played no part in my assessment of the film and what I view to be its theologically inspired themes.