User reviews

'I tattooed 'survive' on my hand the night before I went away to prison. And I did. We do what we have to do to survive.'

I don't think I can remember a film that has put me more on an emotive level with the main character as this film has. Edward Norton plays Monty Brogan – he's not the nicest of people by anyone's standards – and certainly no one you should feel sorry for. But having said that, I have never felt so sorry for the bad guy as I did watching this film. We watch the anguish of Monty during his last 24 hours on the 'outside' before he must go to prison for seven years, knowing completely what is in store for him on the 'inside'.

Set in post 9/11 New York City, we are constantly reminded of humanity and the need to bond together and to make the most of the little time we have; as do Monty's friends, including Jacob Elinsky (Hoffman), a confused and self-tortured school teacher who has strong feelings for one of the students in his class, Mary (Paquin – of X-Men and The Piano fame). Although not about to die, Monty's world is about to turn severely bad, and there's nothing he can do about it. Norton's performance made me feel nervous and quite scared on his behalf, almost to the point of feeling nauseous. It made me want to forgive him, forget about his crimes and let him go (he seemed sorry for what he did – he was no longer a drug dealer – he was trying to make an effort). His performance worked. He had successfully transformed the criminal figure into your best mate and buddy, perhaps even yourself, and you genuinely feel sorry for him.

Director Spike Lee's films usually deal with African-American themes, so it came as a surprise to me to find that this film was something very different – proving that Lee's talent extends across multiple genres and styles.

I highly recommend 25th Hour, not just for the brilliant story, but for the emphatic feelings the film imparts on the viewer.

I read the novel 'The 25th Hour' before I even knew it was going to be adapted into a movie and I absolutely loved it. I thought it was one of the best books written in the last ten years. Being a huge fan of Spike Lee and Edward Norton, I was extremely excited when I found they were making it into a film.

However I will admit I was a bit skeptical to whether Spike Lee could pull the film off, but when I saw the trailer I had a new found faith in it and I'm sorry to of doubted him. I saw the film yesterday and was just amazed. It's nearly flawless and is almost exactly like the novel which was written by David Benioff (who also wrote the screenplay).

The characters in the film are great. You got Monty Brogan (Norton) who's looking at seven years for drug dealing charges. It's his last day of freedom and he's just trying to tie up any loose ends before he goes. Then you got his two friends, Frank Slaughtery (Barry Pepper) and Jakob Elinsky (Philip Seymour Hoffman) who each have to deal with the fact that their best friend is going away for seven years, but also have their own demons to deal with. You also have his girlfriend, Naturelle Rivera (Rosario Dawson) who must deal with it as well and must also deal with the fact that she's suspect on who could have sold Monty out to the DEA. And finally you have James Brogan (Brian Cox), Monty's father. He's a hard working guy who obviously wished that things didn't turn out the way they did. One last night for Monty to set things straight and also make decisions.

The film sticks almost exactly to the novel, but there are slight differences. Since the novel was written in 2000 and the movie was filmed during 2002, Spike Lee and David Benioff included the mentioning of the attacks on New York and the aftermath, which I applaud Lee for. He didn't cop out and try to ignore it like others. It was necessary to capture the emotion of what New Yorkers are facing and among that, what the characters have to face with Monty going to prison. There are also slight differences and cut outs from the book to make the film flow easier, but I was disappointed with only one thing that the film didn't include. In the novel, Monty constantly thinks of how he always wanted to be a fireman. While firemen references and his father was a fireman are all mentioned in the film, it didn't really tackle Monty's regret of never becoming a fireman, like it did in the book. But the film makes up for that one thing by being terrific all around.

There are some stellar performances here. Edward Norton is always great in everything he plays, but in this film he is just excellent. The 'F**k You' scene he has when he's staring in the mirror is just excellent and I hope he gets an Oscar nomination for this role (he was robbed from one for American History X). Barry Pepper is in his greatest performance yet as the tough guy stockbroker. Philip Seymour Hoffman was great as Jakob, the high school teacher. Dealing with his attraction to his student, Mary (Anna Paquin). Rosario Dawson really made me feel for her and it was great to see more of her in a film. Brian Cox doesn't have a huge role, but he's great as Monty's father. I would also like to give praise to Tony Siragusa for his performance as Kostya. He was dead on with the accent.

So without going on any further, I just have to say that '25th Hour' was really great and is now one of my favorite films of all time.

SCORE: 9 out of 10 (excellent)

Having seen Spike Lee's "25th Hour", I must say I was pleased. Lee's plot is both involving and heartfelt, showing the essence of reality. His script is fresh, yet somewhat slow in spots. His characters shine, however, in a truly believeable tale of consequence. Edward Norton, in another masterful performance, shows an almost frightening level of genuine human emotion as the protagonist Montgomery Brogan. The supporting cast consisting of Philip Seymour Hoffman, Barry Pepper, and veteran Brian Cox provide a solid foundation that allows Lee's story to flow freely. While most would consider this tale a literal one, take note: It is quite apparent, through subtlety and the rather obvious "restroom mirror scene" that Spike Lee has a message he wants to get across. What I think makes "25th Hour" so appealing on a theoretical level is the fact that his message is surprisingly open-ended; allowing the individual viewer to decide what he or she wants to retain from the film. This is a genuine film experience; a haunting dose of reality.

For myself, watching 25th Hour was sort-of like taking a palm reading. Noticing one line, representative of a life-path, stretches out long and far, while another line branches off and stops short in the middle of your palm. You question which life path will you take, and which are you currently on now. Are you one the short one or the long one? You question the various choices and decisions that you made in the past, and which life-line have those choices and decisions ultimately lead you down. In a round-about way, the three characters in Spike Lee's 25th Hour are struggling with these same kind of questions. Based on a novel by David Benioff, the film is essentially three people struggling with the choices that they have made in their past, and the choices they are to make in the future -- and which path will it ultimately lead them down.

Edward Norton stars as Monty Brogan, a man whose life decision, becoming a drug dealer, has left him facing a seven year prison term, "...with 84 days off with good behaviour." It's the morning before, and Monty has twenty-five hours left to examine his life, bond with his closest friends, say goodbye to family, find a home for his dog, and figure out a way to survive in the joint. At one point, Monty's friend refers to his incarceration, as "...going to hell and never coming back," and the audience gets the feeling that it's not just a coy metaphor. If Monty does survive his "time", he will most assuredly not be the person they once knew when he gets out.

Even though he has grown distant from them over the years, Monty chooses to spend his remaining hours with his closest friends from childhood, Jacob Elinsky (Philip Seymour Hoffman) and Frank Slaughtery (Barry Pepper). Socially and economically, these are two of the most dissimilar people one is likely to see spending time together in a film. Their only real connection is the deeply entrenched devotion they feel to their friend. Jacob is a nerdy English teacher, whose gift for the language, has done little for his social skills. His self-doubt and shame for being born wealthy has left him single, lonely and in a thankless job. He desperately yearns for one of his students, a beautiful and precocious seventeen year old, Mary D'Annunzio (Anna Paquin), but is afraid to act on it, fearful that such a decision will lead to him being fired from his job, or even worse, arrested. Frank, on the other hand, is on the opposite end of the character spectrum, he's a good-looking, rich Wall Street trader, who, unlike, his nebbish friend, has never had a problem with the ladies. Also unlike Jacob, Frank is much more forthright in his feelings about life, and his friend's impending incarceration, "He profited from other's misery and he deserves what he gets," he tells Jacob. Norton's character also has a girlfriend, Naturelle, played by Rosario Dawson, whom he believes might have been the one who sold him out to the police. There's also his father, played by Brian Cox, a retired fireman who owns a bar on Staten Island which caters primarily to fire fighters. Each of these people, in their own way, blames them self for what is happening to Monty.

The story propels forward when the three childhood friends gather in a nightclub, with Jacob's student, Mary, and Monty's girlfriend, Naturelle, tagging along. It is what happens in this club, on this night, that provides the core of the movie. The accusations that are made, the favor that is asked, the choices that are acted upon, and the truth that is revealed, will stay with these characters long after the 25th hour has widdled and gone away. Will these friends be willing to enact Doyle's Law, in a figurative sense, and save Monty Brogan, the symbolic beaten dog?

25th Hour is also memorable for grappling openly with the aftermath of September 11th. Lee skillfully immerses it into the subtext of the story. Referenced in pictures of fire fighters who lost their lives at the World Trade Center, which adorn the walls of the local sports bar and the uptown offices of the traders; to the mention of Bin Laden in a particularly biting commentary by Monty; to Frank Slaughtery's defiant refusal to move from his apartment, which sits overlooking the ruins of the Twin Towers. Director Spike Lee, never known for being subtle, thrusts these images, and his obvious anger about it, into the viewers lap and compels them to deal with it. Also memorable is the venomous diatribe by Norton into a bathroom mirror, where he verbally attacks every group in New York regardless of ethnicity, sexual preference or socioeconomic standing. Not even the church or JC himself, is safe from his tirade, which ends when Monty realizes the only person he has to blame for his predicament, is the one staring back at him in the mirror.

The whole film plays in a subdued, almost depressing, tone. There are no laughs to be had, no falsely engineered moments where the characters break bread, and cry, and get all remorseful -- none of that. We feel as Monty feels: perplexed, distressed, unsure of those things to come and angry for how he happened to arrive at this place, and moment, in his life -- his last 25 hours.

STAR RATING:*****Unmissable****Very Good***Okay**You Could Go Out For A Meal Instead*Avoid At All Costs

Spike Lee is a truly revolutionary director in terms of the presentation of his films and the motivations behind his stories.Though the genre and content of their stories differ fairly enormously,he is in fact a lot like a latter day Alfred Hitchcock in terms of how he presents his films,like the characters involved and the inspiration behind the premise.

The premise here is a deeply original,inspiring and intriguing one,concerning Marty (Edward Norton) a drug dealer who is about to go to prison for seven years.The film follows him around on his last day of freedom,and,rather than waste too much time on a hindering,unnecessary sub-plot concerning his attempts to find the person who ratted him out,wisely opts to be an engaging character study of a man who,though able to acknowledge he knew full well what he was doing and the criminal life he was getting himself involved in,is still able to question the possible circumstances and immoralities that may have helped his descent into crime.

The two main people who help organise his last free night are his childhood buddies Frank (Barry Pepper) a sleazy stockbroker who plays with people's investments and Jakob (Phillip Seymour Hoffman) a repressed drama teacher,who,throughout the course of the film,gives in to a lustful temptation toward a feisty student of his named Mary (Anna Paquin).Though Marty is the one facing the lengthy jail sentence,the moral dilemma the film constantly raises is whether he is actually any more of a criminal than his two best mates,who are really as equally manipulative and sly as he is.The film brilliantly contrieves to present these characters to the audience,and have them develop their own opinion on what their fates should be.

The driving point of the film however,is condemnation.At the beginning,we see Marty reveal his sensitive side to the audience by rescuing a stray dog who appears to have been discarded by it's owner who,though vicious and nasty toward him,he still finds it in his heart to adopt and love,despite the protestations of his large friend.But then the opening credits ensue,and it's a dark,droning opening theme and that prsents the tone of the movie.Then,straight afterwards,we're shown Marty's not-so-sensitive side,as he trys to brush off a man he turned into a drug addict.Lee intelligently and absorbingly weighs out Marty's good points and bad points,and shows that,despite dealing in a criminal profession,he's not all bad and can be quite nice at times.Yet we're also shown a man who wasted all his potential.If he'd tried a little harder,he could've been a doctor or a chef,his father (Brian Cox) points out to him.We also see that he was once a very gifted basketball player,and could possibly have pursued that further,but alas,didn't.He also tries to blame everyone and everything else for his current predicament,until finally accepting that he was in control of his own destiny and must now pay the price.At the end,he is given the choice:accept he did wrong,pay his debt and go and serve his time in jail,or turn and run.The decision he makes will determine the audience's final impression of him.

It does drag a little towards the end,but generally speaking,Spike Lee is a master of his craft and this is a strong contender for the first great film of 2003.****

Like buckshot, all over the place. Somewhere in here there is a very good (maybe great) film, but it needs to lose 20-35 minutes.

That being said, fine performances all around.

Spike needs to preach less, stop trying to use "cool" camera and editing techniques, leave that to the music video crossover directors.

Spike Lee is a better director than this movie would lead someone to believe.

Norton's excellent (as usual) and Hoffmann's character is moving and well-acted. The best part is the description of a disenchanted New York, under the spell of September 11, populated by people who seem, more than everything, lost and confused.

Despite that, overall it's a shallow film. What do we learn about its characters, their motivations, their aspirations? Not much. The final part with Brian Cox imagining how Ed Norton's life would be if he tried to escape is, in my opinion, very trite and rhetorical.

6/10

This great picture by the greatly discussed Spike Lee is one of a kind. What really makes this shine through the constant rubble being made by either incompetent directors or inexperienced ones is first of all, the incredible acting and for that you need great characters that are well thought-out and second comes the frighteningly real and tragic story. Which Lee handles with utmost care and outstanding precision.

Lee's trademarks are present here and the cinematography suits the feel of the movie very well. The final product feels very polished, but true to the story and it is those small things that some of us notice, those details that separate a veteran from a novice. There are some weak points, but they are only minor.

The acting here is top notch. Norton convinces once again and makes for a great heartfelt performance and Hoffman is equally impressive. However, I was completely blown away by Pepper. Barry Pepper. He 'was' continuously Frank and very consistent in his acting. The scene where he breaks down and Norton thanks him in a way for what he has done is one of the most beautiful scenes I have ever seen. It felt so authentic.

Furthermore, I can keep writing about how great this movie is or how good the acting, but eventually you have to decide for yourself. I can only recommend it.

So, I say to you, if you can, see this movie as soon as possible.

I find this film a little overrated. The incredible cast assembled forms the only backbone of the movie, which is always in danger of being broken by its lack of pace. The drag becomes a little too heavy after an hour into the film, despite the strong performances of Norton and Co. The movie could have ended on several occasions, yet it persists in slowly pushing forward and resulting in a rather unsatisfactory ending, an ending which the efforts put in by the actors do not deserve. As mentioned, the cast is outstanding, with Barry Pepper being my actor of the movie. He outshines everyone with his unabashed attitude and utterly convincing portrayal of one good friend being afraid to show his true loyalty in a society that often cynically rewards good with evil.

This is definitely Spike Lee at the top of his game! `25th Hour' is a purely character-driven drama filled with engaging, complex characters and sharp dialogue. I like how Spike allowed the scenes to play out, without being too concerned about dampening the pacing. I'm sure some will complain (and this probably explains why it wasn't a big success) that the film is boring and slow-moving. If they do, that's probably because audiences are so used to watching movies with a million cuts in one scene, and more time emphasized on action and sex scenes than character development. The characters were so well-developed that I felt a deep connection with each of them. It's rare nowadays that I really get sucked into a film, and this was one of those rare cases. It might also have to do with the fact that I'm familiar with many of these types of characters in real life. You have the Barry Pepper character, who's this smooth-talking playboy who ends sleeping with a ton of women, despite the fact that he's harsh and not very likable. And there's the Philip Seymour Hoffman character, who's a lonely, average-looking guy, who's alienated from society because he doesn't look like an Adonis. It's a harsh reality that handsome guys with nice bodies get away with being complete jerks and still maintain an active dating life, while average-looking guys can have great personalities and women will be repulsed by them, but it is indeed a reality. Sure, it isn't right for Hoffman to be lusting after one of his underage students, but I'm sure if he were ten times better looking, people wouldn't be as disgusted-because God knows that teachers sleeping with their students is sweeping the globe like an epidemic.

The approach to these character interaction scenes is almost documentary-like, which adds to the film's engaging qualities. I love the scene between Pepper and Hoffman, where they chat about dating and Pepper describes his buddy as being part of the 62nd percentile, in the dating world. Sometimes it doesn't work when you deviate from the main characters to focus on the supporting characters, but in this film it did, being that they're very essential in Monty's life and it's helpful to allow the audience to know them inside and out.

The acting is terrific. Edward Norton is always brilliant. But the supporting cast is just as strong. Barry Pepper is a wonderful actor as well, and it's interesting to find out that he's from Vancouver, yet he convincingly inhabits the character of a true New Yorker. Brian Cox is only in the film for about 20 or 30 minutes, but his appearances are very memorable, and he is absolutely magnificent. After seeing him in this movie, I must add him to my list of favorite underrated actors. It's ironic that he shows up in practically every other film, yet he never gets the recognition he deserves. Hopefully, one day he will. Even Tony Siragusa impressed me. I'm not hugely familiar with him, but I saw him make a guest appearance once on `The Tonight Show,' and he seems like a cool guy with a good sense of humor, but I wasn't sure how he'd pan out in a serious dramatic role. Well, he is great, and pulls off the Ukrainian accent with hardly a hitch. I also liked how his character would mess up on his English every once in a while, instead of these foreign characters in movies who speak perfect English, only with an accent. I'm always proud to see Philip Seymour Hoffman, who never fails to impress. One reason I'm so drawn to him is because-like me-he's an average-looking guy, yet he receives decent roles and doesn't get typed as the `fat slob' like most actors in his weight range. So I think of him as an inspiration to all overweight aspiring actors. I once read a review for `Magnolia' in which someone bashed him for being so ugly. Of course, this person didn't mention anything about his acting, but that just proves how superficial of a society we live in today. Many audiences are so used to seeing actors and actresses with near-perfect faces and near-perfect bodies that they can't stand to see actors who look like `normal people.' How often do you walk outside and see people who look like Tom Cruise and Gwyneth Paltrow? Even these so-called reality shows try to include the most beautiful people possible. So people get hypnotized into thinking that's reality. I'm a heterosexual man, so naturally I'm open about enjoying the sights of beautiful actresses, but that's not going to impact how I feel about their acting abilities. And the sight of beautiful women alone surely doesn't make a film good (i.e.: `Charlie Angels'). Speaking of beautiful women, wrapping up this talented cast are Anna Paiquin and Rosario Dawson. Paiquin is cute and effective in her role, though technically it's similar to the ones she played in `HurlyBurly' and `It's the Rage.' I just hope she doesn't get typecast as the teenage slut who loves sleeping with older men. But she's a fine actress, and despite these similarities, she takes different approaches to each of her characters. Rosario Dawson just gets hotter and hotter by the movie. When I saw that trailer shot where she's dancing in the club in that silver dress, I couldn't help but think to myself, `I'd give my left leg to marry that girl.' Well, I'm glad to see that she receives good roles that compliment her acting abilities. She really has a commanding screen presence, outside of her outstanding beauty.

I only have two minor criticisms about the film. One is the unnecessary `F.U. sequence' where Norton goes on a blue streak about his hatred for the people of NYC and the world in general. I'm sure many will find deep meaning in that sequence, but I felt it was out of place and simply an opportunity to remind people that this is a Spike Lee joint-since it's identical to the race-bashing montage in `Do the Right Thing.' Spike mentioned in the commentary that the scene was in the screenplay, and adapted from the original novel, but I'm sure he thought of it as a perfect opportunity to insert one of his directorial trademarks. My other criticism is the use of flashbacks. Nowadays, some directors feel that dissolving into flashbacks and showing subtitles that read things like `Three years earlier' is passe, but the audience needs some sort of clue that we're going back in time. In the scene where Dawson and her friend are in the playground, and Norton first meets her, is obviously a flashback since Dawson is wearing a Catholic private school uniform. But there are other scenes that I didn't realize were flashbacks until I watched the movie with Spike's commentary. But even without knowing those scenes were flashbacks, I didn't feel thrown off, so that's always a good sign.

Besides the `F.U. sequence,' there were other Spike trademarks, which I felt worked out well, like his famous dolly shot. The movie is long, but not overlong. As I said, this is Spike at the top of his game. I'm personally a fan of most of his work, even the awfully bashed `Summer of Sam.' Other fans should also be impressed. Hell, even if you're not a Spike Lee fan, you should appreciate this film! It's a smartly written, well-acted, character-driven drama that doesn't come along too often.

My score: 9 (out of 10)

A forceful film, but not necessarily a good one. It is extremely heavy-handed, but the subject matter is never really as dour as it seems to think it is. Basically, the story revolves around a drug dealer (Edward Norton) who is going to be taken to prison 25 hours from when the film opens. This last day is spent reconnecting with his two best friends (Philip Seymour Hoffman and Barry Pepper), his girlfriend (Rosario Dawson), whom he believes turned him in and his father (Brian Cox), as well as cutting ties to the Russian gangsters who were his bosses. All this takes place with the backdrop of September 11th. Oh, does Lee ever try hard to make that metaphor work. This was the first major film that directly referenced the terrorist attacks, and it probably seemed pretty strong for it at the time (over a year later). But, really, any metaphor Lee thinks he's making never really makes too much sense. I've seen people suggest Lee is metaphorically blaming the U.S. for 9/11. I doubt that's true, but it's an easily argued point. I really don't think Lee knows exactly what he wants to say here. The film is so oppressive in its dourness that it gets old pretty fast. The thing is, Norton's going to prison for seven years. That sucks. A lot. But, holy Hell, is this film obsessed with the idea that, the second Norton shows up in prison, it's going to be non-stop gang rape for the next seven years. Of course he's going to have to kick someone's ass the first day he's going to get there. That'll keep his butthole safe for a few hours. Seriously, folks, this stuff is nothing but movie clichés. It becomes almost laughable as 25th Hour goes on how obsessed Norton is with getting penetrated. So, really, the film is pretty thin. The heft that Lee shoves into his film never seems deserved. All that said, though, it's not a half bad film. Norton is excellent (though not especially believable as a drug dealer). I didn't like either Pepper or Hoffman - I've always hated the former and the latter just brings his standard sad-sack performance to the mix, which thankfully he's moved beyond by now. Dawson is pretty good, as is Cox. There are a lot of very well directed moments, but I honestly think Lee's done better in this decade, and certainly much better in the previous two.

The cast are excellent, and all deliver perfectly good performances but the script is a little lack-lustre giving them very little to work with.

It is a detailed view of the time before a likable criminal goes to prison for the first time, showing his fears and his friends fears and all the various emotions and guilt surrounding him.

The feeling of paranoia and fear is demonstrated well by Norton with a surprising turn near the end, the film is always consistent and believable.

I just didn't enjoy it. It is believable but not moving, there are dark bits but nothing exceptional and there is no tension.

It would be harsh to say it's a bad film since it achieves what is sets out to do which is show that going to prison can be a terrifying experience, but it just found it too detached.

Honestly it's the best movie I've seen in my 25 years. I've seen it a dozen times now, and I love it more every time. The plot is perfect, the acting is perfect, the cinematography is perfect. The ending segment with Monty and his father is about the most powerful I've ever seen.

So many unforgettable scenes in the movie:

• Frank & Monty at the club the last night

• The "make me ugly" scene

• Monty and his dad in the car

If you haven't seen it, go get it right now. You can't miss this one.

Some people will tell you this movie is not what they had expected but these are the same people who didn't get fight club. Just watch this movie and you'll understand..... The soundtrack throughout the movie does NOT distract you from the movie, hey maybe you were expecting THE English PATIENT#@$%, This is one of Ed Norton's finest performances. The side actors were very good as well but he really shines. Brian Cox does a fantastic job as his father. Without him, the movie wouldn't be told right. This is a movie that takes patience to understand. Not for anyone who wants to change the channel after the first 3 minutes.

Every man, woman and child should see the desert once in their life. That line just sticks to me so good that I wish every movie after that had a line like that. It's kind of like "Unfortunately no one can be told what the matrix is, you have to see it for yourself". Kind of like that, maybe I'm going too far.

But those who get this movie, it'll stay with you for a very long time, I promise you that. The ending alone is too good, forget about the mirror scene...

I'm always surprised what film makers can put into like 135 minutes. What exactly happens? An end 30 year old has to go to jail for 7 years. He spends some time with his friends, before he leaves. That's it. 135 minutes. I am sorry, I am no big fan of quick action jump and run and deads everywhere no one remembers this crap in a couple of years stuff. But despite this movie was not bad, it just didn't hit point. A nice game and no goals. The mirror scene felt like: now something cool is happening, more of that anger please, but no. Just a short scene.

Anyway: you have the time, and you are curious, then give it a try. You wanna teach your kids about not doing crimes? Show them. The actors are pretty cool and people thinking very different about this. You won't say someone stole you two hours of your life in the end. But don't complain about the plot, cause I told ya :P

Alphabetically, the first film on Disney plus at the moment, that I hadn't reviewed was Spike Lee's "25th Hour", and adaptation of David Benioff's novel mixed in with guttural honest reactions to the events of September the 11th. It does, perhaps feel a bit overlong, and there are plenty of aspects of the story that could be cut, but it's a character piece and the performances are really strong.

Monty Brogan (Edward Norton) has one last night of freedom before he's due to hand himself in for a seven-year jail term he's received for drug trafficking. He works on getting his affairs in order, whilst going on a night out with his friends Frank (Barry Pepper) and Jacob (Phillip Seymour Hoffman). He has a meal with his father (Brian Cox) and tries to steady his relationship with girlfriend Naturelle (Rosario Dawson) who he partially suspects may have had something to do with his arrest.

There isn't really a whole lot of plot to "25th Hour". There's a whole bunch of subplots, ideas and themes but ultimately, it's a character study. Monty Brogan isn't particularly likable, despite his decision to save a dog in an early scene. He's a drug dealer, as we know, with links to the Russian mob. When he first meets her, his girlfriend Naturelle is frankly worryingly young - still at school even. Throughout the film he's re-evaluating his life and wondering if he's made the wrong decisions. His friends have their own problems, but neither of them are facing jail the next night.

The film is another of Lee's love letters to New York, this one though was his first after 9/11 and you can feel the anger, defiance and pain in the film - particularly in the films most memorable scene - in which Brogan launches into a foul mouthed tirade about the various nationalities and ethnic groups of the city, before turning it around on himself.

I am the sort of person that's attracted to stories above all, so in that regard I wouldn't describe "25th hour" as being one of my favourite films - but you can't argue with the quality of the performances.

"25-th Hour" is an ambitious film and at times I felt like I was watching a great movie. However there were some disappointing points that let this film stay among my personal collection of "good but nothing more than that" films. I think the film had a great story, with one flaw - the main character's job. Why should I care for a drug-dealer? What is he unique with, so that I could swallow and forget the fact that he sells drugs? Yes, we all do mistakes and deserve a second chance, but I just could not care for the character, could not sympathize with him, nor the fact that he was what he was as a result of his childhood made any difference to me. Also I think that an intelligent film-maker as Spike Lee should know the difference between cheap propaganda and deep, insightful messages. But the American flag was in display in every second scene and in the end I felt that it robbed the story form its potent universal meaning and grounded the story In America, only.

Monty's monologue in the bathroom of the bar where he was with his father was really strong, perhaps the strongest moment in the film. And the weakest for me was the the one in which the father envisioned his son's new future - or was it the son envisioning a different future for himself before waking up to reality? It was a bit cheesy and so flat.

I normally avoid writing comments until the movie is really great. This is one of those movies which inspire you to share your fulfilling experience with others.

Without doubt, this is one of the best storyline and the acting is spot on. I mean, all characters were so real and identifiable that you could not wonder but imagine a life-like narration going on. I got totally sucked into the movie towards 15 minutes from the start. I have seen Edward Norton deliver the goods before and I had no doubt in my mind that he will not disappoint. But here, he is in a league of a different kind. I really admire his role selection and execution. He has that boyish looks but nonetheless, he is able to fit himself in a wide variety of roles so easily. I look forward to see more of him in such engaging roles.

Other then that, the director had devoted considerable footage in developing the other supporting characters as well. This is really great. As one of the comments said, "it doesn't work when you deviate from the main characters to focus on the supporting characters". But here, Seymour and Barry's character development is so effective as they are the only friends Edward have and there feelings for Edward basically defines his character.

Rosario (Men in Black) and Anna (X-Men) were excellently cast as Edward's love interest and Philip's teen student. They both were young with interests in older men in their life and they delivered quite effectively.

Brian Cox as Edward's Father was very real and his repent towards the end for being responsible for what became of Edward was also beautifully portrayed.

I appreciate the film at all levels and suggest strongly to watch this alone in your quiet time. This will definitely help you to appreciate Life.

My Score: 9 out of 10

Monty Brogan (Edward Norton) is a drug dealer, arrested by DEA, who will go to the prison on the next day for a seven-years penalty. He spends his last night with his friends reevaluating his life, the chances he lost, his bad judgement and prejudice against persons, until the next morning, when his father will take him to jail. I expected much more of this movie, based on the name of Spike Lee and the excellent cast leaded by Edward Norton on the credits. However, the story has a great flaw: it shows only the last night of Monty, when he regrets for wasting the chances he had along his life, creating an empathy of the viewer with his character. However, the guy was a drug dealer, who bought an expensive apartment, jewels for his mate, traveled to Porto Rico with her and having a huge package of money at home, meaning he sold lots of drugs for addicted persons. Therefore, he is a regretted scum. The story has no relationship with September 11th, except for being in New York, after this incident and showing the remains of the World Trade Center. There is a very important sequence on the DVD, when the Russian mobsters discuss Monty's situation, that was deleted from the story. My vote is seven.

Title (Brazil): `A Última Noite' (`The Last Night')

Whenever the author of a book also writes the screenplay that is then shot and turned into the film, I suppose there will always be the threat of them including a little too much as they adapt their own subject matter and story. Such is the case with 25th Hour; a film that rolls along with scene after scene of dialogue, character relationships, atmosphere (however limp at times), exchanges and other such things that might occur and all clocking in at around about two hours fifteen minutes. Maybe writer David Benioff could've made it a little shorter but I guess he wants us to absorb as bigger picture as possible.

Whatever film of Edward Norton's (old or new) I come across, he always impresses me and he does the best with the material he's given here. His character does not go through any changes and as a drug dealer from the start with a fancy apartment and pretty wife, there is not much we can have for him in terms of empathy. Norton plays Montgomery Brogan, a guy who one day just gets careless as the film's initial incident would show us: someone's been telling the DEA what Montgomery keeps in his sofa seats as padding. And so, this launches a very slow and very precise film adopting a style that is somewhat reminiscent of a fly-on-the-wall approach to film presentation. We don't just see Monty and his friends in a nightclub dancing or getting drunk or whatever else other films would focus on, we actually have them queuing up outside; getting let in the door; finding a seat; sitting down; having them measure how much they drink; have them leave for the toilet and have them talk to one another about issues that do not mean much to the narrative.

But then again, this is an interesting idea. Spike Lee's films are all about relationships, no matter how obscure or taboo to the respective backgrounds in which the characters live (see Jungle Fever, in my opinion his best film so far). I think it's rather a bit symbolic that the most interesting story going on in this film is the parallel narrative involving Jacob Elinsky (Hoffman), a lecturer, and Mary D'Annunzio (Paquin), a much younger student at his place of teaching. This is not surprising as it revolves around a relationship of some sort; a teacher/student relationship and one that threatens to escalate into a loving one. We first see Mary when she's in his class; her red attire draws our eyes immediately and her status as the one we should be focusing on is confirmed when Montgomery himself says so to Jacob upon visiting his class. But then Lee doesn't shoot her as an object of desire and cleverly has her as a smart and independent female – best demonstrated when she goes to Jacob's office to complain about grades and the quality of fellow students.

So with this multi-stranded film focusing on Montgomery and his last night of freedom before he goes off to prison, how disappointing and yet interesting to have a secondary story actually better than the primary. The film also dips into Frank Slaughtery's (Pepper) egotistically driven life and world early on but it is scrapped after a while; perhaps mercifully since the film would've been longer. But that's not to say Frank plays an important role; well, he does precipitate in perhaps the film's best scene nearer the end when he has to do 'one last favour' for Norton's character but apart from that, he is a name and a face merely there to be spoken to. The film also has Kostya Novotny (Siragusa) dip in and out of the main strand since he is Monty's Russian friend. The scenes with Kostya are a breath of fresh air in an otherwise serious and depressing film and his scenes are either funny or dramatic; the one in the nightclub being the one that stands out.

But apart from being a little Hannibal Lecter series reunion between Cox (Norton's father), Norton and Hoffman, there isn't much to be had out of 25th Hour. The film's subject matter is one that could be the final hours before a prisoner's execution or the last 'date' you'll spend with an ex-partner before they are married; it's just that Montgomery's story and situation do not make for pleasant viewing – nor does the approach at times. There are many exterior shots of the city at night which look beautiful but this is just hiding all the ugliness that is on the inside of the city, the ugliness that Montgomery dedicates a little monologue toward but it's all interesting and rather juxtaposed film-making. I do not think 25th Hour is a bad film but perhaps it is a misdirected one. I think the final act is where a lot of people have been fooled but I was less impressed. I'm sure the DEA's handling of prisoner transport in real life is a little more thorough than portrayed here and if Monty hated New York so much any way, I wonder why he didn't follow through on his ideas sooner rather than wait until when he does in the film. Waiting indeed, until the 25th Hour.