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25TH HOUR
Directed by Spike Lee
Most films that have virtually no plot would fall flat and fail miserably. But 25TH HOUR is a
stand-out, succeeding on every level. Most films are lucky if they have on three dimensional, real,
fully developed character. 25TH HOUR has a half-dozen of them, some with less than twenty
minutes of screen time. After September 11th, 2001, most film makers were nervous about
addressing the terrorist attacks. Some even digitally edited the World Trade Center out of the
New York City backdrop. But Spike Lee took this issue head on, presenting us the first depiction
of post 9/11 New York in a fictional film.
25TH HOUR centers on Monty Brogan (Edward Norton), a drug dealer who was “touched,” and
is being sent to prison for seven years. The film follows his last twenty-four hours of freedom, in
which he spends time with his father (Brian Cox), and parties the night away with his oldest
friends, Frank (Barry Pepper) and Jacob (Philip Seymour Hoffman), and his girlfriend Naturelle
(Rosario Dawson) in a nightclub
Spike Lee’s films are composed of sheer energy that bursts out of every frame. His SUMMER OF
SAM is one of the most exciting films I have ever seen, managing to make my heart pump faster
when nothing particularly thrilling is happening on the screen. 25TH HOUR is much more
subdued. The mood is more somber, which is appropriate for both its subject matter and setting.
There is, however, an underlying, pent-up energy that only explodes in its pure form during three
scenes. One of them in particular, the best and most powerful scene in the film, has Monty giving
an all out verbal assault against everyone and everything in the city, ending with himself.
There are more than a few moments in the film where we doubt the motivations of the characters
surrounding Monty. Are they really his friends? There are two scenes where I became especially
suspicious of Frank. He gives a monologue to Jacob about how Monty deserves what he got in
one scene. In the other he speaks, again to Jacob, about how he should have interfered and told
Monty to stop dealing. Thinking back, though, this makes Frank seem to be a better friend than
any of his other friends. He is the only one of Monty’s friends who cares enough to actually feel
regret about not trying to help. None of the other characters really wish Monty ill. They are just
real people who are looking out for their own interests.
25TH HOUR is undoubtedly Lee’s most well-acted film. From Edward Norton, one of the best
leading men of this generation, to the supporting work of Philip Seymour Hoffman, Barry Pepper,
and Brian Cox, who has less than twenty minutes of screen time and is just as memorable as any
of the film’s other characters. Every line of David Benioff’s brilliant screenplay (based on his book
of the same name), is perfectly delivered. The performances fit the film perfectly. They are tender
and downbeat, although occasionally bursting out into emotionally raw moments.
The ending is almost overwhelming in its power. It takes place in Monty’s father’s car, as they
drive up state to prison. Monty’s father describes a life he could have with one simple turn of the
car. This speech hits hard. It is one of the most haunting endings I have ever seen.
My Rating: Masterpiece
Review by Jared Mills
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