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We Own the Night 2007

A New York nightclub manager tries to save his brother and father from Russian mafia hit men...

Release Date:
October 12, 2007
117 min
James Gray
Robert Duvall, Mark Wahlberg, Patrick M. Walsh, ...
Drama, Thriller, Crime ...

Your rating: 0

Solar rating: 8.8


Imdb rating: 6.9

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Dang! Now that is a movie Hollywood can be proud of!
The best of all the worlds.
GREAT performances by MArk Wahlberg, Joaquin Phoenix, and Robert Duvall. Solid 8/10.
As the credits rolled for James Gray's "We Own the Night", the audience erupted into the longest standing ovation I heard during Cannes. People shook their heads in disbelief, whistling drowned out any form of conversation and Gray waved in an aw shucks manner to the crowd. Apparently, I had just seen a film from the next auteur. As the applause continued for nearly ten minutes, I only had one question: How much were these people paid?

"We Own the Night" would have blended in with the endless number of phony cop dramas running on the Hallmark Channel. How it made it to Cannes I will never begin to understand. Perhaps it could be blamed on cultural perspective. Maybe the French haven't been exposed to the parade of cop movies which mask any sort of authentic emotion with clich
The costumes of this film are incredible.
They depict the 80s incredible.
All details are there, all.
From dressess to shoes. Every extra is impeccabily dressed in 80s look. Not one detail is undone.
This work of costume is incredible. Look at the details amazing.
** 1/2 WE OWN THE NIGHT - A cop family is torn apart when one son runs a Russian nightclub where drugs are being sold. A well-done cop drama, but it's not especially original. See it on DVD/cable. With Joaquin Phoenix, Mark Wahlburg, Robert Duvall and Eva Mendez, it opens 10/12.

We Own the Night, a 70s'-style, urban crime drama written and directed by James Gray (The Yards, Little Odessa) reunites Gray with Joaquin Phoenix and Mark Wahlberg, the co-leads in Gray's last film, The Yards. Apparently strong believers in Gray's talents as a filmmaker, Phoenix and Wahlberg also stepped in to co-produce We Own the Night. While Phoenix and Wahlberg give note perfect performances as estranged brothers, they're simultaneously let down by Gray's overly familiar, formulaic screenplay and Gray's skillful direction of a large cast and action set pieces that will long linger in the minds of moviegoers long after they've forgotten everything else about We Own the Night (a catchphrase used by the New York Police department during the 1970s and 1980s).

Set in Brooklyn, New York in 1988 We Own the Night follows two brothers, nightclub manager Robert Green (Joaquin Phoenix), the manager of a nightclub, El Caribe, and Joseph Grusinsky (Mark Wahlberg), a decorated New York City police officer. Robert's father, Burt (Robert Duvall), also happens to be deputy commissioner. To dissociate himself from his father and brother, Robert uses his mother's maiden name. The elderly owner of the nightclub, Marat Bujayev (Moni Moshonov), treats Robert as a surrogate son. Robert has a Puerto-Rican girlfriend, Amada Juarez (Eva Mendes), who not coincidentally catches the eye of Bujayev's nephew, Vadim Nezhinski (Alex Veadov), a drug dealer who works out of El Caribe.

Joseph, the newly installed leader of an anti-narcotics task force, raids El Caribe, hoping to catch Vadim selling drugs. He doesn't succeed, but the police rough up Robert and haul him to jail for resisting. Angered by being humiliated in public, Vadim and his associates order a hit on Joseph, while simultaneously inviting Robert into distributing and selling drugs. Vadim also reveals that Robert's father will be targeted next. With his brother and father's lives in immediate danger, Robert is forced to choose between the lavish, hedonistic lifestyle he's enjoyed as a nightclub manager and the literal "law and order" offered by his father and brother. Choose he does, but his choices have unintended consequences that force him and Amada to go into hiding.

As a filmmaker, James Gray obviously knows his film history. Paying homage to the gritty, realistic crime dramas released regularly during the 1970s, starting with William Friedkin's Oscar winning procedural, The French Connection. Friedkin's celebration of an anti-heroic, hyper-masculine, rule-bending ethos became the blueprint for cop thrillers or crime dramas with pretensions to realism in film and on television in the decade that followed (e.g., Serpico, The Seven-Ups, Prince of the City, Baretta, Hill Street Blues). Just as or even perhaps more importantly, The French Connection helped to bring cinema v
It's definitely nothing you haven't seen before, but it's still enjoyable. One of the strengths it has is that, even though it's a "cop" movie, it's more drama-based than action-based (we've had enough of the action-based this year with Live Free Or Die Hard, The Bourne Ultimatum and The Kingdom). That said, though, I completely agree with RT's critical consensus on this one. But it's still a good movie, despite all that.

(JAMES GRAY, 2007)
The first half was good and peaked with a great car chase sequence. Unfortunately, it became implausible and incredibly overdramatic by the end.
It's been such a long time since i posted on my journal, i've not been in the writing or movie watchin mood in quite a while. Since tonight i watched the film We Own the Night, i almost felt a little obligated to finally write a bit.

Joaquin offers us with another crowd pleasing performance, allowing subtlety to give a very natural physical and psychological presence. It seemed to have rubbed off on the rest of the cast, most recognizably Eva Mendes (who was better than i'd seen before). Duvall and Wahlberg were both very strong in their roles, filling the roles with a unique and interesting take.

This movie was not on the powerful level of The Departed or Goodfellas, and it's rare for any director to match the quality of Scorsese. It told the story the way it was supposed to be told and I praise James Gray for this great film that he's delivered.
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