Código de Familia

In 2008 New York thriller "Pride And Glory" Edward Norton's a cop reluctantly pulled in (by top brass dad Jon Voight) to investigate the shootings of four fellow cops who worked under his bro Noah Emmerich (married to Jennifer Ehle) with hard-ass Colin Farrell (married to his sister Lake Bell), Shia Whigham & Frank Grillo. What unfolds is a rich & finely crafted tale of Irish-American family & NY cop loyalty & corruption, good vs bad, and the blurring of those lines. The drama occasionally slips to melodrama, but co-writer (with Joe Carnahan) / director Gavin O'Connor does an excellent job applying the polish, eliciting great performances & keeping it taut. Terrific film.

I haven't seen a lot of cop movies, so perhaps that's why I didn't find this picture "formulaic" as some have called it. I did find aspects of the film familiar, but for a different reason: I have been a resident of New York City for some time now; I have known law enforcement officers, and I think this was a realistic movie (except for the large number of murders, but hey, it's a movie). Many scenes of this film were quite reminiscent to me of stories I heard from a (former) corrupt cop I used to know.

I appreciated the fact this film showed the characters as human beings with families. I am tired of films that show both heroes and villains without back stories. I'm sure there are younger film-goers who would have preferred a more comic-book like movie...you'll grow out of that.

I liked the way the film ended. It brought in another dimension to the human drama.

Overall, this film is gripping, well acted, well directed and has an integrity to it that is often missing in films these days.

I saw a screening of "Pride and Glory" last night. It's the kind of American movie you don't see anymore, a throwback to the big themes and dramatic tone of the 1950s, when Elia Kazan was making movies like "East of Eden" and "On the Waterfront," and Arthur Miller was writing plays like "Death of a Salesman" and "All My Sons." Family, honor, corruption, right and wrong, fathers and sons--these are the kinds of issues that director/co-writer Gavin O'Connor is taking on in "Pride and Glory," and in doing so he's made a timeless film. Sincere without being sentimental (much like "Miracle," O'Connor's last effort), "Pride and Glory" gets elbow deep in a corruption scandal that threatens to crack the blue wall of the NYPD and destroy the Tierney family legacy (patriarch Jon Voight, sons Ed Norton and Noah Emmerich, and outlaw brother-in-law Colin Farrell, who has never been better). A muscular, old-school American film, with big themes splashed on a big canvas, "Pride and Glory" is familiar and original at the same time. In the Age of Irony, these are the kinds of movies you rarely see anymore. An honest, gripping drama.

STAR RATING: ***** Saturday Night **** Friday Night *** Friday Morning ** Sunday Night * Monday Morning

When four police officers are brutally gunned down in a run down, drug infested tower block, it sets a deadly chain of events in motion that threaten to tear apart the brotherly structure of the New York Police Department. Honest cop Ray Tierney (Edward Norton) starts with the proper approach, getting a statement from an eye witness to what may have gone on in the shape of an innocent, unlying child who admits to having seen notorious drug dealer Angel Tezo (Ramon Rodriguez) fleeing from the scene in fear. With what happened starting to look fairly obvious, the hunt begins for Tezo. Unfortunately, that includes less honest cops Jimmy Egan (Colin Farrell), related to Ray through marriage, and his men whose corrupt activities have lead to the murders. It all builds up to a devastating battle between family and friends, loyalty and justice, truth and honour.

As any one who's glanced at the trivia section (or Empire Magazine!) will already know, work on Pride and Glory was scheduled to begin as far back as 2001, but owing to America's characteristically patriotic respect for NY cops who risked their lives to save lives that fateful day, any suggestion of corruption amongst them was deemed, well, unpatriotic and it's been left till seven years later for the film to come out. It would appear the most high profile film to come from writer/director Gavin O' Connor, whose other credits appear a smattering of unheard of films that have skipped the sort of exposure this one's got.

Though a few have claimed the film has been done before (which it surely has), it is still far more than a standard, straight-forward cop thriller, with an intelligent, twisty turny screenplay that keeps you hooked with it's developments and raw honesty. Despite this, the narrative flow fails to keep going as well as you'd like, and a fair few scenes gracelessly flow on from the last one rather than keeping you hooked for them. Also on the plus side are strong, solid performances from leading men Norton and Farrell, not to mention Jon Voight and Noah Emmerich as the other honest, well meaning father/son cop team caught up in the middle of the corrupt shenanigans as everyone else. But Norton and Farrell not only have good presence, they have good chemistry together and it's a shame they're scenes together are too few. Another down point is their climactic fisticuffs session, which feels corny and out of place amongst what has been a raw, unflinching, brutally and unsearingly honest cop film up till now, belonging more at the end of a Jet Li or Chuck Norris movie to be honest.

Still, this is a solid, well made cop thriller that was still quite worth the wait. ***

Colin Farrell, Edward Norton, Noah Emmerich, and Jon Voight all deliver great performances. There are many intense scenes throughout the movie, and Norton and Farrell match them with their own intensity. Voight is believable and realistic as the patriarch of the family of cops and the chief, trying to keep his family in order as he thinks it should be.

Despite the inspired performances of the main characters, however, Pride and Glory falls short due to awkward pacing, pointlessly convoluted side-stories revealed in equally pointless scenes, and a general lack of focus. Pride and Glory tries to tell two or three stories at once, but fails to really punctuate any one of them, leading to a fairly emotionless climax and no discernible, unifying theme. The result is a forgettable movie and a hint of buyer's remorse; if you're a big enough fan of Ed Norton or Colin Farrell and want to see either of them put on a great performance, catch the matinée, or even still, wait a few months and rent it.