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Says Andy: "Nobody gets hurt, everybody wins." Before he says it, we know the opposite is true: Everybody gets hurt, nobody wins. This is a new strand in American movies, or perhaps an old strand brought back at long last. Think "Eastern Promises", "There Will Be Blood", "No Country for Old Men". These movies are dark, serious, extremely well made, and don't care about happy endings. I love them. "Before the Devil Knows You're Dead" fits the general description, but creates an atmosphere all its own. Kelly Masterson's debut script is as close as a Hollywood movie will ever get to a Greek tragedy. Paying tribute to fellow veteran director Stanley Donen, Sidney Lumet expertly and soberly turns the sombre story into an outstanding, old school character drama. The opening shots, although of an obese accountant doggy-styling his trophy wife, have the look and feel of a Dutch master's painting. By contrast, the drug dealer's condo looks more like a string of Mondrians. Great performances all around. Only Albert Finney's character Charles feels a little over-acted, eyes wide and mouth agape almost all the time. But then he is in trouble deep, deeper than any of the troubles most of us will ever know. For compensation, Marisa Tomei is super hot. But of course you don't need me to tell you that. Why her character Gina would want to be with a guy like Andy, we're never told, but that's okay. Action is character, after all. The unique and magic touch of Carter Burwell's music makes this fine movie a masterpiece. Don't miss it.

I'm writing this review after my second viewing of 'Before the Devil Knows You're Dead.' I watched it on DVD when it first came out and, to be honest, it didn't leave that much of a lasting impression on me. If you asked me to describe it, I'd probably say something like, 'Oh, it was about a heist... or something.' To be fair, that is part of the film. I don't know what I started thinking about it years later, but I decided to give it another go. And I'm glad I did. Yes, it's about a heist. Although, the main ingredient in this film is about moral dilemmas. Two brothers (Phillip Seymour Hoffman and Ethan Hawke), both with financial problems, decide to rob their parents' jewellery store as a way of making a fast buck (while not admitting that they're heavily in debt – and why).

Naturally, things don't go their way and both of them find themselves stuck in an ever deceasing spiral as more and more things get out of control. I won't go into the actual plot in too much detail, as anything I say will probably spoilt the film of you. However, what is nice is that you can see things from their points of view. Both men have problems. Yes, there may be easier (legal?!) ways of getting cash, but both have already gone too far to be able to turn around and utilise legitimate money-making means. Then, when things start to go wrong, everything happens logically. You'll feel for the two men (even if you don't always like them). Albert Finney is on the cast list and he does a good job, too. Although his part is decidedly smaller than his two on-screen sons, but what he does he does well.

'Before the Devil Knows You're Dead' is a slow film. Maybe when I watched it before I was expecting some sort of 'action-orientated' gangster film where people are shooting each other and delivering a witty quip here and there. It's nothing like that. If you're looking for that sort of experience, look somewhere else. This film is quieter, subtle and sadder in tone. It's also nearly two hours long, but, despite being slow, that's not a bad thing.

If you're in the mood for 'thoughtful' over 'thrilling' give this one a go. I'm definitely going to watch it again – probably in a few years, but definitely.

Great cast. Sidney Lumet truly did an astounding job with this film. Lumet shared with us one of his best films and it is a shame he and Philip Seymour Hoffman, who died just last year, are no longer here to share anymore profound masterpieces.

I saw this a few years back and what I can say is it was an amazing film. The acting was well constructed as it would be expected of Ethan Hawke and Philip Seymour Hoffman. But not one in the film captivated the debilitating affects of tension and concern as well as Hoffman himself.

The film had its share of humor and the supporting roles were brilliant and authentic.

It seemed as though as the film had progressed, the intense suspense in the film as well as the sharp acting seemed to just envelop you even more. The entire atmosphere just impacts the audience deeply and leaves a thrill of excitement that is still felt after the film.

A film close to perfection and one I will see again any time.

I am beginning to see a very consistent pattern form in the identity of 2007's films. If 2004 was the year of the biographies and 2005 was the year of the political films, 2007 can be identified as a year featuring a wide plethora of morality tales, films that portray, test, challenge and question human morality and the motives that drive us to do certain things. Although this identification is rather broad, I think that there are a handful of films released this year, such as 3:10 To Yuma, Eastern Promises, American Gangster, No Country for Old Men and others that specifically question and study human morals and the motives that drive us to acts such as violence or treachery. Before the Devil Knows You're Dead is a deviously stylish morality tale, and quite a dark, bleak and depressing one at that. And even better is the fact that it comes from one of the greatest classic directorial forces of our time, the legendary Sidney Lumet, who many have said has passed his prime but returns in full force with this viciously rich crime thriller.

It's one of those films whose plots are so thick, that one is very reluctant to go into details. It is a movie that is best enjoyed if entered without any prior knowledge to the events about to unfold, as there are twists and turns. But the thick and richly wrought plot is not at all at the center of this film; the true focus is, as I mentioned, the morality tale; the motives that drive these two men to the actions they do in the film. In a plot structured like a combination between the filmographies of both The Coen Brothers (namely Blood Simple and Fargo) and Quentin Tarantino, we see two men driven under various shady circumstances to pull off a fairly simple crime that goes incredibly, ridiculously wrong, and reciprocates with full force and inevitable tragedy. And to make it all the more interesting, the film is told in a fragmented chronology that keeps back tracking and showing a series of events following a different character every time and always ending up where it left off the last time. Sizzling, sharp, thick and precariously depressing, Kelly Masterson's screenplay is surprisingly poignant and well rounded, in particular because it is a debut screenplay.

But the film has much more going for it than just it's delectably sinister and quite depressing plot. First and foremost, the picture looks and feels outstandingly well. Sidney Lumet has, throughout his career, consistently employed an interesting style of cinematography and lighting: naturalistic and yet stylish at the same time. The film carries with it a distinctive air of style and class, with wonderful natural lighting that just looks really great. Editing is top-notch; combining the sizzling drama-thriller aspect with great long takes that really take their time to portray the action accordingly. And vivid, dynamic camera angles and movements further add to the style. The film is also backed by a fantastically succulent musical score by Carter Burwell.

The screenplay does its part, and of course Lumet does his part, but at the film's dramatic center are three masterful actors who deliver incredibly good performances. First and foremost, there are the two leads. Leading the pack is Philip Seymour Hoffman, who has always been an excellent actor but has stumbled upon newfound leading-man status after his unnaturally fantastic Oscar-winning performance in Capote. His turn in this film is fascinating: severely flawed, broken, manic. Hoffman has some truly intense scenes in the film that really allow his full dramatic fury to come out, and not just his subtlety and wit. At his side is Ethan Hawke, who has delivered some fantastic performances in many films that are almost always overshadowed by greater, grander actors. Here, he bounces off Hoffman and complements him so incredibly well; in all, the dynamic acting between the two of them is just so utterly fantastic and convincing, the audience very quickly loses itself in the characters and forgets that it's watching actors. And then there's Albert Finney. Such a supple, opulent supporting role like the one he has requires a veteran professional and here Finney delivers his finest performance in many years as the tragically obsessed father to the two brothers who get caught up in the crime. I love how the dynamics between the three of them play out. I love how Hoffman is clearly the dominant brother and shamelessly picks on his younger brother even now that they're middle-aged men; and yet despite this, it is clear how Finney's father favours Hawke's younger, weaker brother. Also on the topic of the cast, the two supporting female characters – wives of the brothers – also feature fantastic performances from Amy Ryan and Marisa Tomei, whose looks just get better and better as the years go by.

This film isn't revolutionary. These themes and this style have already been explored by the likes of The Coen Brothers, and it's very easy to imagine them directing this film. But for a film that treads familiar ground, it simply excels. Lumet employs his own immense directorial talent and employs his unique and very subtle sense of irony and style to Masterson's brilliantly vivid, intense, and morbidly depressing first-time screenplay. The lead performances are incredibly intense and the film features absolutely fantastic turns from Hoffman, Hawke and Finney; but the truly greatest wonder of the film is that three years after he won a Lifetime Achievement Oscar, much revered as the ultimate sign of retirement in the film business, Sidney Lumet proves that he still has the immense talent to deliver a truly wonderful, resonant, intense piece of cinema reminiscent of his golden years.

After a cold sex scene, between Andy and Gina, in South America, we know that Andy is a payroll manager who finds himself in a hard economic situation where he badly needs some extra money… We also discover that he has been stealing from his job and using the money to his drug habits… He's also attempting to keep up with his wife, who just might be having an affair…

To solve all their problems, he persuades his brother—a likable loser—to join him in a plan to steal their own parent's small store… Their parents are happily married and proprietors of a jewelry store situated in New York's Westchester County… Sixty thousand dollars is all they'll need to get their life out of desperation…

Three main characters are important in this movie…

First the two brothers… Each of them is a complex individual, threatened with multiple motivations, and sunk into doubts and disappointments… The two are desperate characters, financially and emotionally…

Andy is selfish… He feels that he has never had the love of his father… He is the corrupting influence, turning his brother into an assailant, and his beautiful woman into an adulteress…

Hank is a puppet too weak to resist his brother's wishes… His ex-wife is one of the reasons he needs money as he owes her hundreds in child support…. He longs to regain the confidence he once had with his father…

The third character is their weary and deplorable father Charles Hanson (Albert Finney), especially in the haunting climactic scenes…

Telling you more about the details could lessen the impact of the film, and therefore the entertainment...

Tomei's performance conveys great depth and emotion even with her look, her touch, her particular move…

Lumet's direction is firm, fresh and brutal.