VALUTAZIONE IMDb
6,8/10
95.341
LA TUA VALUTAZIONE
Un manager di un nightclub di New York City cerca di salvare suo fratello e suo padre dai sicari della mafia russa.Un manager di un nightclub di New York City cerca di salvare suo fratello e suo padre dai sicari della mafia russa.Un manager di un nightclub di New York City cerca di salvare suo fratello e suo padre dai sicari della mafia russa.
- Regia
- Sceneggiatura
- Star
- Premi
- 1 vittoria e 5 candidature totali
Dominic Colón
- Freddie
- (as Dominic Colon)
Joseph D'Onofrio
- Bloodied Patron
- (as Joe D'Onofrio)
Recensioni in evidenza
I loved everything about this movie. drama, action, love, loss, grief, anger and so much more. The actors really take you there and your heart beats as fast as their's and you're scared just as much as they are and you feel their pain and sadness and the movie is just amazing and i cant wait to see it so many more times at more college prescreenings and when it comes out in theaters all over! James Gray s awesome too, he's the writer and the director. he was at the screening i was at tonight and talked and he's such a great guy and he takes so much time to research and his emotion and passion for the story is very much shown and appreciated.
go see it right away, i know i will be seeing it again and again
go see it right away, i know i will be seeing it again and again
WE OWN THE NIGHT is the quote from the lower portion of the badge on the uniforms of NYPD police family Deputy Chief Bert Grusinsky (Robert Duvall) and one of his two sons Capt. Joe Grusinsky (Mark Wahlberg): the other son Bobby (Joaquin Phoenix) did not follow the family tradition of police work but instead is involved in nightclubs - and yes there is a schism of resentment. Bobby has distanced himself further from his family by changing his last name to 'Green', living with a Puerto Rican girl Amada (Eva Mendes), and bonding to a wealthy Russian family who owns the nightclub where Bobby works - a front for a drug dealing business. Writer/Director James Gray ('The Yards' and 'Little Odessa') has a feel for this underbelly of New York City and captures the 1988 mood of life in the city and beneath the city with style. The problem with the story is that it has been done so many times that it is simply stale yesterday's lunch. Two brothers at opposite end of the family spectrum require a major tragedy to bring them together, and to offer any more information to this fairly thin plot would be a disservice to those who plan to see the film.
The cast is strong, partly because each of them has played similar roles countless times and have the ideas down pat. It should be noted that two of the producers of the film are Mark Wahlberg and Joaquin Phoenix, probably a reason the film was made... There are some exciting moments and enough surprises and tense times to keep the adrenaline rolling, the smaller roles are very well cast, and one of the shining attributes of the film is the gorgeous Russian liturgy inspired musical score by Wojciech Kilar. It is not a bad film; it is just too much in the same mold as countless other New York police dramas. Grady Harp
The cast is strong, partly because each of them has played similar roles countless times and have the ideas down pat. It should be noted that two of the producers of the film are Mark Wahlberg and Joaquin Phoenix, probably a reason the film was made... There are some exciting moments and enough surprises and tense times to keep the adrenaline rolling, the smaller roles are very well cast, and one of the shining attributes of the film is the gorgeous Russian liturgy inspired musical score by Wojciech Kilar. It is not a bad film; it is just too much in the same mold as countless other New York police dramas. Grady Harp
I caught a recent screening of this film and as a fan of thrillers I was more than impressed. The film creates a handful of true white-knuckle scenes but also accomplishes telling a story that has weight and depth. I love when a film takes its time to develop real characters and not repeats of what we've already seen. The crime genre is so full of clichés already. This film pays homage to classics such as French Connection while breaking new ground in its family/police drama. Phoenix, Wahlberg, Duvall and Mendes are all superb. Eva Mendes deserves a particular mention, as she has not yet been seen this way before.
The Grusinsky family is a family of cops, father Bert is Deputy Chief and son Joe is Captain. However son Bobby has shunned this side of the family and, to Bert's chagrin, is using his mother's maiden name and is running a club in Brooklyn, mixing with those who see the police as a joke and the city as theirs. As a result the family is split, with neither willing to see the others' point of view. When Joe leads a raid on Booby's club and picks up several men of a high-profile Russian mobster the outcome is bloodshed - with a hit put out on Joe. With the Russians unaware of the family connection, Bobby must decide who he stands with and the risks he is willing to take for his family.
We Own the Night came and went in the cinemas over here and struck me as being one of those thrillers that gets made that is solid enough to watch but not remarkable enough to do really well. This was enough to make me check it out anyway though and it turned out to be pretty much what it appeared to be in the overview. This is no bad thing though because a solid thriller is still a solid thriller and sometimes that is a welcome relief from all the noisy, superficial blockbusters handed to us week in, week out. Set in the 1980's, the film does recall the cop thrillers of the 1970's to a certain point and it does feel like an old fashioned film in terms of the characters and the way it is shot and the rather grey and oppressive feel to the city of the time does lend itself to the narrative.
It's not a film of gripping tension though. There are several really well done scenes that are unbearably tragic and tense (the shoot-out between cars is particularly good) but mostly the film takes a slower pace that focuses on the characters. It is a good direction to go but the problem is that Gray allows it all to get just that bit too sombre and heavy and it does have an impact on the film in regards slowing it down somewhat. This seems to have been passed onto the cast as well, who are generally restrained in their emotions - again not a massive criticism but it does feel a bit like all these factors are weighing down the film to a certain extent. Phoenix impresses despite this and he does convince in his character even if he himself comes over like he has a weight on his shoulders that is crushing him; I get that that is part of his character but again it adds this sense of slowness to proceedings. Wahlberg is underused and has too little time and opportunity to make the most of his character - he is very much a supporting player. Duvall is better because his presence adds more and the lack of time doesn't take away from him as he does what he has to do. I enjoyed seeing Mendes doing more than being her usual foxy and a bit playful self - trust me, I do love her in that mode but she is capable of more. Gray and his cinematographer provide style when it matters but I think he is mostly responsible for the rather heavy feel to the entire film and it does rather suck the energy out of the film.
I'm not suggesting that this film should have been zingy and "fun" but just that it is sombre to the point of being a bit too much like hard work at times. In terms of content, characters and themes I found that it all worked but that this sense of weight did affect it. Still a solid film that is dramatically satisfying in an old fashioned way but these issues do prevent it being as memorable as it could have been.
We Own the Night came and went in the cinemas over here and struck me as being one of those thrillers that gets made that is solid enough to watch but not remarkable enough to do really well. This was enough to make me check it out anyway though and it turned out to be pretty much what it appeared to be in the overview. This is no bad thing though because a solid thriller is still a solid thriller and sometimes that is a welcome relief from all the noisy, superficial blockbusters handed to us week in, week out. Set in the 1980's, the film does recall the cop thrillers of the 1970's to a certain point and it does feel like an old fashioned film in terms of the characters and the way it is shot and the rather grey and oppressive feel to the city of the time does lend itself to the narrative.
It's not a film of gripping tension though. There are several really well done scenes that are unbearably tragic and tense (the shoot-out between cars is particularly good) but mostly the film takes a slower pace that focuses on the characters. It is a good direction to go but the problem is that Gray allows it all to get just that bit too sombre and heavy and it does have an impact on the film in regards slowing it down somewhat. This seems to have been passed onto the cast as well, who are generally restrained in their emotions - again not a massive criticism but it does feel a bit like all these factors are weighing down the film to a certain extent. Phoenix impresses despite this and he does convince in his character even if he himself comes over like he has a weight on his shoulders that is crushing him; I get that that is part of his character but again it adds this sense of slowness to proceedings. Wahlberg is underused and has too little time and opportunity to make the most of his character - he is very much a supporting player. Duvall is better because his presence adds more and the lack of time doesn't take away from him as he does what he has to do. I enjoyed seeing Mendes doing more than being her usual foxy and a bit playful self - trust me, I do love her in that mode but she is capable of more. Gray and his cinematographer provide style when it matters but I think he is mostly responsible for the rather heavy feel to the entire film and it does rather suck the energy out of the film.
I'm not suggesting that this film should have been zingy and "fun" but just that it is sombre to the point of being a bit too much like hard work at times. In terms of content, characters and themes I found that it all worked but that this sense of weight did affect it. Still a solid film that is dramatically satisfying in an old fashioned way but these issues do prevent it being as memorable as it could have been.
I saw this movie at a special screening in LA. There were lots of folks there from all walks of life and all ages - the movie seemed to go over very well with everyone in the room. The move is filled with some very tense moments and excellent performances by Joaquin Phoenix, Mark Wahlberg, Robert Duvall and Eva Mendes. Phoenix and Wahlberg work well together as the troubled brothers and Robert Duvall is perfect as always. I've seen some real stinkers at the movies recently (I won't bother you with the list because it's too long) so it was refreshing to see that movies can still be well made with characters you can care about and root for. Since the movie wasn't finished at the time I got to see it, I look forward to enjoying the movie again at local movie theater..
Lo sapevi?
- QuizThe car chase scene was shot on a sunny day, and the rain put in digitally later in post-production.
- BlooperThe bullet resistant vest that Bobby wears in the weeds shootout is of a contemporary design and is dark blue in color. In 1988, the vest would have been light blue in color in order to match the NYPD uniform shirt.
- Citazioni
Joseph Grusinsky: I don't need any more guns in my life, that's for sure. But you should have one to be safe. It's better to be judged by twelve than carried by six.
- Colonne sonoreHeart of Glass
Written by Debbie Harry, Chris Stein (as Christopher Stein)
Performed by Blondie
Courtesy of Capitol Records
Under license from EMI Film & Television Music
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Dettagli
- Data di uscita
- Paese di origine
- Sito ufficiale
- Lingue
- Celebre anche come
- Los Dueños De La Noche
- Luoghi delle riprese
- Aziende produttrici
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Budget
- 21.000.000 USD (previsto)
- Lordo Stati Uniti e Canada
- 28.563.179 USD
- Fine settimana di apertura Stati Uniti e Canada
- 10.826.287 USD
- 14 ott 2007
- Lordo in tutto il mondo
- 55.033.767 USD
- Tempo di esecuzione1 ora 57 minuti
- Colore
- Mix di suoni
- Proporzioni
- 1.85 : 1
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