Lots of people are mad that this focused on O'Neal and not Hampton, but it's a valid approach, imo, especially since these filmmakers genuinely do seem to view Hampton as a Christ-like figure, and Christ-like figures are difficult to make interesting! The conflicted informant is almost by definition a more compelling character. The problem is that O'Neal's conflict is barely dramatized. We the viewer are expected to do the work because of our assumed emotional connection to Hampton's vision and heroism, but that leaves our point of view character to act as a mostly-opaque bystander. Also marred by the signal malady of contemporary American filmmaking, a draggy second act. Also pretty sure one of the racist Chicago cops has a Brooklyn accent. Inexcusable.