In Rampart, James Ellroy has crafted his darkest tale yet. Although his other ventures in the Neo-Noir and Hard-Boiled genres lurked in depths of violent decadence, their endings would eventually embrace a transgressive crescendo. Instead, Woody Harrelson brilliantly drives his character off the edge and into an inescapable pit of hopelessness. Meanwhile, Moverman captures all the ugliness from a voyeuristic and sometimes cerebral point of view. For fans of Ferrara’s Bad Lieutenant this is a contemporary treat.