James Gray's We Own the Night
Of all the members of a generation of filmmakers who wanted to be the next Scorsese, James Gray was different: He wanted to be the next Scorsese, Christopher Marlowe, and Georges de la Tour. That ambition seems little diminished in this, his third film in 13 years, set in his chosen milieu of outer-borough lowlife. Bobby (Joaquin Phoenix), sybaritic manager of a Brooklyn nightclub, shuns his family's NYPD legacy, and his father and brother on the force (Robert Duvall and Mark Wahlberg) resent his independence. The '80s drug wars are raging, and both dealers and cops vie for Bobby's cooperation; circumstances align him with the "good guys," and an ironic tragedy of falling into grace is set in motion as Bobby's new sense of duty damns him to the solemn moral wilderness of law and order. Helpless with comedy, heavily reliant on coincidence, and out of step with all current cinematic voguethe film received a divisive Cannes receptionWe Own the Night finally resonates as a beautiful, dolorous nocturne. The closest thing Gray's done to a commercial actioner, the film also applies his genius for tone (aided by superlative sound work) to set pieces that throb with trauma: a tinnitus-soundtracked shoot-out and a rain-slick car chase set to the tempo of windshield wipers.
Get the Film & TV Newsletter
Stay up to date on the best new movies with our critics' latest reviews, interviews and trailers for the films coming to a theater near you each week.
More Film News
- Scott Adkins Plays a Badass Actually Named ‘Colt McReady’ In the Effective ‘Close Range’
- Meet the Pole Who Tried to Warn the World About the Holocaust in ‘Karski & the Lords...
- Jane Fonda Faced Down the Seventies and a Killer in Pakula’s Masterful ‘Klute’
- He’ll Get Your Head Shaking: Surveying the Start of Chung Mong-hong’s (Likely) Great...