![]() This is not at all a film about what would you do if you had just one day left. Even if you are too pious to agree with any of it, you have to at least admire the boldness of it. One of my favorites is when Monty's friend Jacob, a teacher, has the hots for one of his students and Frank asks him, "You know what a man should never ask in a Victoria's Secret shop, Jake?. Does this come in children's sizes?" The "Fuck you!" speech is the greatest soliloquy of any film. The entire plot is driven by conversations and this movie has some great lines. The film contains flashbacks and plenty of dialogue as we get to know Monty and his friends. He visits his father and goes to a club with his two long time friends and his girlfriend. ![]() For me, his best films are the ones in which racial issues are non-existent or at least pushed into the background, such as Inside Man and 25th Hour.īased on David Benioff's novel, 25th Hour tells the story of a man, Monty, spending his last day of freedom before serving seven years in prison for dealing drugs. When it was not bashing you over the head with its message of bigotry, it was confusing you in its inexplicable story line and poor editing. His last completed theatrical film, Miracle at St Anna was a complete mess. Too often Spike Lee's films have been bogged down by one theme, race. Powerful and uplifting, "25th Hour" is well worth two of yours.Barry Pepper, Edward Norton and Philip Seymour Hoffman in 25th Hour. The slightly overblown finale can't quite fulfill the preceding promise, but this is still Lee's best picture in years. The time-limited, pressure cooker environment brings to mind Lee's "He Got Game" and "Do the Right Thing", and the director showcases his admirable ability to capture moments of emotional substance through striking visual style (Hoffman's post-kiss scene is a classic).ĭavid Benioff's honest, intelligent script - from his own novel - nails the resentment and love which characterise lifelong friendships, and captures the volatile, vital nature of seemingly inconsequential banter (recalling another movie about choice, friendship and redemption: Hal Ashby's 1973 classic "The Last Detail"). The message underlies but never overpowers a moving, witty character piece. This may all sound terribly worthy, but far from it. (Hammering the point home, his apartment is decorated with a poster for the famously allegorical "Cool Hand Luke".) From the opening credits - a New York nightscape with spotlights standing in for the Twin Towers - "25th Hour" sets its stall as a picture with subtext. It is also about the choice facing America, post-September 11th. Not just in Monty's dilemma over whether to stay or scarper, but his earlier decision to make easy, illegal money - and the tacit complicity of his loved ones, from lover Rosario Dawson to dad Brian Cox. Spike Lee's latest joint is about choice. ![]() It's their final night together, and they plan to get steaming drunk. Philip Seymour Hoffman's naive teacher is preoccupied with an alluring student, and Barry Pepper's Wall Street suit figures Monty's getting what he deserves. The Russian mob fear he's going to give them up, he wonders if his girlfriend gave him up, and his friends have given up. Slick Manhattan drug dealer Monty Brogan (Edward Norton) has 24 hours of freedom before starting a seven-year stretch in the slammer.
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