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La hora 25

Título original: 25th Hour
  • 2002
  • R
  • 2h 15min
CALIFICACIÓN DE IMDb
7.6/10
189 k
TU CALIFICACIÓN
POPULARIDAD
3,004
558
Edward Norton in La hora 25 (2002)
Trailer
Reproducir trailer2:32
5 videos
99+ fotos
DramaDrama carcelarioDrama psicológico

Acorralado por oficiales de la DEA, un narcotraficante reevalúa su vida en las 24 horas que tiene antes de enfrentar una pena de siete años de cárcel.Acorralado por oficiales de la DEA, un narcotraficante reevalúa su vida en las 24 horas que tiene antes de enfrentar una pena de siete años de cárcel.Acorralado por oficiales de la DEA, un narcotraficante reevalúa su vida en las 24 horas que tiene antes de enfrentar una pena de siete años de cárcel.

  • Dirección
    • Spike Lee
  • Guionista
    • David Benioff
  • Elenco
    • Edward Norton
    • Barry Pepper
    • Philip Seymour Hoffman
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    7.6/10
    189 k
    TU CALIFICACIÓN
    POPULARIDAD
    3,004
    558
    • Dirección
      • Spike Lee
    • Guionista
      • David Benioff
    • Elenco
      • Edward Norton
      • Barry Pepper
      • Philip Seymour Hoffman
    • 503Opiniones de los usuarios
    • 170Opiniones de los críticos
    • 69Metascore
  • Ver la información de producción en IMDbPro
    • Premios
      • 4 premios ganados y 17 nominaciones en total

    Videos5

    25th Hour
    Trailer 2:32
    25th Hour
    A Guide to Spike Lee Joints
    Clip 2:03
    A Guide to Spike Lee Joints
    A Guide to Spike Lee Joints
    Clip 2:03
    A Guide to Spike Lee Joints
    25th Hour
    Clip 1:30
    25th Hour
    25th Hour
    Clip 1:23
    25th Hour
    What Are Scorsese and Spike Lee Really Like on Set? Anna Paquin Knows Best
    Video 2:02
    What Are Scorsese and Spike Lee Really Like on Set? Anna Paquin Knows Best

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    Edward Norton
    Edward Norton
    • Monty Brogan
    Barry Pepper
    Barry Pepper
    • Francis Xavier Slaughtery
    Philip Seymour Hoffman
    Philip Seymour Hoffman
    • Jacob Elinsky
    Rosario Dawson
    Rosario Dawson
    • Naturelle Riviera
    Anna Paquin
    Anna Paquin
    • Mary D'Annuzio
    Brian Cox
    Brian Cox
    • James Brogan
    Tony Siragusa
    Tony Siragusa
    • Kostya Novotny
    Levani
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    • Uncle Nikolai
    Misha Kuznetsov
    • Senka Valghobek
    Isiah Whitlock Jr.
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    • Agent Flood
    Michael Genet
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    • Agent Cunningham
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    • Trader #1
    Bear
    • Trader #2
    • (as Bear Jackson)
    • Dirección
      • Spike Lee
    • Guionista
      • David Benioff
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios503

    7.6188.7K
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    Opiniones destacadas

    wellthatswhatithinkanyway

    If you do something wrong in life,you've only got yourself to blame.Right?

    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.****
    9mattymatt4ever

    One of Spike's best

    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)
    josevcutts

    A powerful and haunting parable.

    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.
    8vanghensyn

    A Haunting Dose of Reality

    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.
    9tastyworm

    Masterpiece of human emotion

    '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.

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    Argumento

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    ¿Sabías que…?

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    • Trivia
      Edward Norton says he took every penny he made from Dragón rojo (2002) to finance this film.
    • Errores
      The tattoo on Nikolai's hand means "I'll survive" (not "to survive" as he says). Besides, it is misspelled (in the 3d letter).
    • Citas

      [Monty standing in the men's bathroom, talking to himself in a mirror with "FUCK YOU!" written on it]

      Monty Brogan: Yeah, fuck you, too. Fuck *me*? Fuck *you*, Fuck you and this whole city and everyone in it. Fuck the panhandlers, grubbing for money, and smiling at me behind my back. Fuck the squeegee men dirtying up the clean windshield of my car - get a fucking job! Fuck the Sikhs and the Pakistanis bombing down the avenues in decrepit cabs, curry steaming out their pores stinking up my day. Terrorists in fucking training. SLOW THE FUCK DOWN! Fuck the Chelsea boys with their waxed chests and pumped-up biceps. Going down on each other in my parks and on my piers, jingling their dicks on my Channel 35. Fuck the Korean grocers with their pyramids of overpriced fruit and their tulips and roses wrapped in plastic. Ten years in the country, still no speaky English? Fuck the Russians in Brighton Beach. Mobster thugs sitting in cafés, sipping tea in little glasses, sugar cubes between their teeth. Wheelin' and dealin' and schemin'. Go back where you fucking came from! Fuck the black-hatted Chassidim, strolling up and down 47th street in their dirty gabardine with their dandruff. Selling South African apartheid diamonds! Fuck the Wall Street brokers. Self-styled masters of the universe. Michael Douglas, Gordon Gekko wannabe mother fuckers, figuring out new ways to rob hard working people blind. Send those Enron assholes to jail for FUCKING LIFE! You think Bush and Cheney didn't know about that shit? Give me a fucking break! Tyco! Worldcom! Fuck the Puerto Ricans. Twenty to a car, swelling up the welfare rolls, worst fuckin' parade in the city. And don't even get me started on the Dom-in-i-cans, 'cause they make the Puerto Ricans look good. Fuck the Bensonhurst Italians with their pomaded hair, their nylon warm-up suits, their St. Anthony medallions, swinging their Jason Giambi Louisville Slugger baseball bats, trying to audition for "The Sopranos." Fuck the Upper East Side wives with their Hermès scarves and their fifty-dollar Balducci artichokes. Overfed faces getting pulled and lifted and stretched, all taut and shiny. You're not fooling anybody, sweetheart! Fuck the uptown brothers. They never pass the ball, they don't want to play defense, they take five steps on every lay-up to the hoop. And then they want to turn around and blame everything on the white man. Slavery ended one hundred and thirty seven years ago. Move the fuck on! Fuck the corrupt cops with their anus-violating plungers and their 41 shots, standing behind a blue wall of silence. You betray our trust! Fuck the priests who put their hands down some innocent child's pants. Fuck the church that protects them, delivering us into evil. And while you're at it, fuck J.C.! He got off easy! A day on the cross, a weekend in hell, and all the hallelujahs of the legioned angels for eternity! Try seven years in fuckin' Otisville, J.! Fuck Osama Bin Laden, al-Qaeda, and backward-ass cave-dwelling fundamentalist assholes everywhere. On the names of innocent thousands murdered, I pray you spend the rest of eternity with your seventy-two whores roasting in a jet-fuel fire in hell. You towel-headed camel jockeys can kiss my royal Irish ass! Fuck Jacob Elinsky. Whining malcontent. Fuck Francis Xavier Slaughtery my best friend, judging me while he stares at my girlfriend's ass. Fuck Naturelle Riviera, I gave her my trust and she stabbed me in the back, sold me up the river, fucking bitch. Fuck my father with his endless grief, standing behind that bar sipping on club sodas, selling whisky to firemen, and cheering the Bronx Bombers. Fuck this whole city and everyone in it. From the row-houses of Astoria to the penthouses on Park Avenue, from the projects in the Bronx to the lofts in Soho. From the tenements in Alphabet City to the brownstones in Park Slope to the split-levels in Staten Island. Let an earthquake crumble it, let the fires rage, let it burn to fucking ash and then let the waters rise and submerge this whole rat-infested place.

      [pause]

      Monty Brogan: No. No, fuck you, Montgomery Brogan. You had it all, and you threw it away, you *dumb* *fuck*!

    • Créditos curiosos
      Special Thanks ... Bruce "Da Boss" Springsteen
    • Conexiones
      Featured in Siskel & Ebert & the Movies: The Best Films of 2002 (2003)
    • Bandas sonoras
      Warm It Up Kane
      Written by Big Daddy Kane (as Antonio Hardy)

      Performed by Big Daddy Kane

      Courtesy of Warner Bros. Records Inc.

      By Arrangement with Warner Special Products

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    Preguntas Frecuentes

    • How long is 25th Hour?Con tecnología de Alexa
    • Is there something during / at the end of the credits ?
    • What songs play during the club scene?

    Detalles

    Editar
    • Fecha de lanzamiento
      • 27 de junio de 2003 (México)
    • País de origen
      • Estados Unidos
    • Idioma
      • Inglés
    • También se conoce como
      • 25th Hour
    • Locaciones de filmación
      • West 4th Street Basketball Court, Greenwich Village, Manhattan, Nueva York, Nueva York, Estados Unidos
    • Productoras
      • Touchstone Pictures
      • 25th Hour Productions
      • 40 Acres & A Mule Filmworks
    • Ver más créditos de la compañía en IMDbPro

    Taquilla

    Editar
    • Presupuesto
      • USD 5,000,000 (estimado)
    • Total en EE. UU. y Canadá
      • USD 13,084,595
    • Fin de semana de estreno en EE. UU. y Canadá
      • USD 108,865
      • 22 dic 2002
    • Total a nivel mundial
      • USD 23,936,003
    Ver la información detallada de la taquilla en IMDbPro

    Especificaciones técnicas

    Editar
    • Tiempo de ejecución
      2 horas 15 minutos
    • Color
      • Color
    • Mezcla de sonido
      • DTS
      • Dolby Digital
      • SDDS
    • Relación de aspecto
      • 2.35 : 1

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