The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

The film never slows down or bores, plunging from one harrowing sequence to the next.

The movie is wonderful and true, an act of love in all its contradictions and complexity

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

It's the L.A. law firm of McKenzie, Brackman, Chaney and Kuzak. In the pilot opening, divorce lawyer Arnie Becker (Corbin Bernsen) and his secretary Roxanne Melman (Susan Ruttan) find senior partner Norman Chaney dead in his office. Leland McKenzie (Richard Dysart) and Douglas Brackman, Jr. (Alan Rachins) are the other senior partners. Michael Kuzak (Harry Hamlin) is the rising star partner. They and the other various characters over the years deal with court as well as life.Steven Bochco created one of the most popular series of the '80s. It's a legal drama about a law firm in L.A. It featured some great actors who created some iconic characters. On top of that, they had great chemistry. Their interactions is half of the fun. It made a mythical sexual position an actual thing. Now that's popularity. With such a great large cast, a few defections do happen. And that is one of the reason for this show's demise. By 1992, some of the cast starts to disappear. At that point during its initial run, I lost interest. This show relies on its characters and it lost too many of them. This award winning show had 8 seasons and a movie.

A beautifully crafted legal drama with characters that last a lifetime. Not since "The Practice" have we had a legal drama as well made as "LA Law." I recently read the pilot script and the show came to life as if I was watching it on television. Incredible stuff!

The previous post was less than favorable to this incredible show ("great actors, flawed writing"), so I just had to weigh in. For a moment, forget that "L.A. Law" presented some of the most compelling and unusual legal cases as drama (some of them so unusual, in fact, showrunner David E. Kelley would revisit them in his own "Picket Fences," "The Practice," and even "Ally McBeal"). "L.A. Law" brought black comedy back to television and presented sexuality and sensuality that actually advanced its storylines. The latter were core character traits of Corbin Bernsen's Arnold Becker and Jill Eikenberry's and Michael Tucker's Ann Kelsey and Stuart Markowicz, respectively. You can argue the tastefulness of these scenes and others, but you couldn't make a case for their gratuity.The writing, of course, enabled the other collaborators on this show to perform at the peaks of their abilities. The show explored some of the more difficult issues of its time through our legal adversarial process. Whether surgeons should be obligated to operate on AIDS patients, the right for the terminally ill to die, the lives of the mentally challenged, sexual dysfunctions, the pressures and responsibilities of the police -- these and other episodes paved the way for the shows we're watching today. "L.A. Law" stood on the shoulders of giants, yes, but it became a giant in its own right.Arguably the show created by Stephen Bochco and Terry Louise Fisher suffered with the departure of David. E. Kelley in its fifth season. The guys who used to run "St. Elsewhere" had a brief stint as showrunners, and viewers began tuning out when the show became less about L.A. lawyers and more about various medical maladies.That fifth season was especially dramatic, too, as several cast members also were leaving, which freed the writers from some of the constraints of series television -- namely, that characters could not change significantly from week to week.To dismiss "L.A. Law" as a show about yuppie lawyers is to misjudge a deep, poignant, and important book by its slick, glossy cover. Check it out.

Kerplunk. LA Law shows the importance of the executive producer in episodic television. The first few seasons where fantastic. Then David Bochco left. The best part of the first three years is that one never knew who to root for, the most successful characters were the slimiest, the nice guys never got ahead, that's life and LA Law wasn't afraid to say it though it always challenged the audience to consider what this meant. Then Bochco left and the tone of the show changed to something more conventional. Boring. Those who are tired of the simple moralizing which has become standard fare on hour long tv should check out the first few seasons.