25 Stunden

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)

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.

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.

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)

As 'A Spike Lee Joint,' 25th hour is a paradigm, filled with Lee's typical style and directorial vigor. A flowing, feature length music video, containing a story that is coherent, topical and, above all, strongly analytical in its approach to the characters, 25th Hour is the story of mid level drug dealer (Monty Brogan – Ed Norton) whom, on his last day before being incarcerated for his elicit trade, must make peace with his family and friends, answer to his Red Mafia suppliers, say farewell to the city he so obviously loves and, ultimately, accept that he is now in receipt of justified dues.

With a post 9/11 setting in NYC, the script deviates from the book (which was written pre-9/11) only slightly in order to encompass the destruction, yet the atmosphere is set with the opening credits and a slice of dialogue during the first quarter (followed by some beautifully filmed cutaways to a sodium lit nighttime clean-up crew, working in Ground Zero) which leaves the audience with no alternative but to associate the main characters' desperate tableau with plight of the city in the aftermath of tragedy. This could perhaps beg the question: What was so bad about how Monty made his living to warrant the end of his life (in effect) in the 25th Hour?

This is a question answered before it's asked, with the first scene after the opening credits showing an exchange between Monty and a disheveled wreck of a man who is quite clearly one of his customers. It's further reinforced in a later flashback to Monty's earlier days as a dealer when the same man approaches Monty dressed in business attire. The destruction of others for personal gain is something that will not - and quite rightly so - go unchallenged.

A subplot concerns blame, where Monty vilifies and accuses everyone in the city, himself included. However, later in the film, the injustice of this is rectified with a simple shot of the various people, looking upon him with sympathy – the personification of this being a small boy offering a sign of friendship. Monty's own redemption begins and is represented by him expressing his brotherhood to the child in return.

Relying somewhat on symbolism and hidden meanings, there are a number of subtexts, as well as ample opportunities to read into the narrative more than is intended, but the overall message is clear: culpability is in the hands of the bearer, and with his last 24 hours of freedom sifting away and the eponymous 25th Hour quickly approaching Monty must see that blame can only lie with himself.

25th Hour's greatest achievement is in relaying a subtle, but highly relevant parable in a manner of storytelling that is both enjoyable and compelling. Very few words are wasted and the dialogue remains taught and muscular throughout. The editing, acting, score, direction and cinematography are all of the very highest standard. It could've been very easy for a film of this nature to fail by being presented as an embarrassing lecture. Thankfully 25th Hour is definitely no lecture, but a powerful and haunting movie.