In a flashback, he tells his story of cruelty, love and a soul-destroying guilt that offers little chance for redemption. At University he was a favored student in a prestigious creative writing course, but a chance meeting, a stolen kiss and a sudden flare of passion sets Tim on a journey of betrayal, heartbreak and murder. Blessed with extraordinary good looks, Tim enjoyed much attention and cared little of broken hearts. Young Tim Cornish's life has begun with great promise. Bringing sentiments before the camera is miles away from shooting scripted sentimentalism and I think James Gray has a problem with his characters' emotions since he is only able to play on pathos and good acting.Matt & Andrej Koymasky - GLTB Movies - No Night Is Too Long It perfectly reflects that a smooth director may be too smooth on writing. The last lines (see the so-called "memorable quotes") say it all.
In that respect (and lack of respect for the movie-goer) the movie ends in a lame way, rushing an happy and clean and tidy and moral conclusion. Cinemoddities late NIGHT movies with Rob podcast on demand - This is a podcast about cinematic oddities, where we discuss any media that is too bizarre, abnormal or off-kilter for contemporary. Joaquin Phoenix is ever so good you don't care too much until it becomes way way too much. The problem is the story becomes a one-way highway of the same old/same old. Even though the brother confrontation is definitely not new Joaquin Phoenix is so good you just get into the story and beg for the plot to become more complicated. We Own the Night starts very well, the exposure is excellent. This leads to a good deal of leniency from the part of critics (as with Night Shyamalan before it became too obvious he was shooting the same narrative structure over and over), a kind of prime for directors who don't harass the viewer with images + sounds but let the camera roll and the actors do their jobs, the story unfold and so on. On the whole I think James Gray's movies benefit from his smooth directing, no rushed and furious MTV editing.
It is not a bad film it is just too much in the same mold as countless other New York police dramas. 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 should be noted that two of the producers of the film are Mark Wahlberg and Joaquin Phoenix, probably a reason the film was made. The cast is strong, partly because each of them has played similar roles countless times and have the ideas down pat. 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 problem with the story is that it has been done so many times that it is simply stale yesterday's lunch. 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. 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. 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. 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.
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