We Own the Night

We Own the Night

2007 "Two brothers on opposite sides of the law. Beyond their differences lies loyalty."
We Own the Night
We Own the Night

We Own the Night

6.8 | 1h58m | R | en | Drama

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

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6.8 | 1h58m | R | en | Drama , Thriller , Crime | More Info
Released: October. 12,2007 | Released Producted By: 2929 Productions , Nick Wechsler Productions Country: United States of America Budget: 0 Revenue: 0 Official Website:
Synopsis

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

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Cast

Joaquin Phoenix , Mark Wahlberg , Eva Mendes

Director

Brianne Zulauf

Producted By

2929 Productions , Nick Wechsler Productions

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Reviews

videorama-759-859391 James Gray makes good movies. This is his best so far. We own The Night is a solid, almost flawless actioner, steered by wonderful performances, where Wahlberg and Phoenix reunite. Phoenix is always electrifying to watch, a very naturalistic professional, though on the end of that coin, notably Wahlberg deserves recognition here. Every performance is good, no exceptions, in a movie I enjoy the more I see it. Phoenix, the only one of family who isn't a cop, which kind of makes him an outsider, is a nightclub owner, running a front for drug related mafia dealings. When Phoenix's club is raided by his own blood, brother cop (Wahlberg) and Father cop (Duvall, who you pretty much know won't be around for the finale) this propels the story into scary situations, involving forced choices, where you can truly see the picture, from Phoenix's point of view, taken on a revenge path, when a hit is made on Wahlberg, by a Russian figure. The new dope runner, a real scummy, Russian dope dealer, looks the part, and is not to be taken as a fool, where if so, it's a grave mistake on your part. One of the scariest type of seen. Phoenix making a 180 degree career change, which is what I liked about this cop drama, that sets it apart from a lot of others. Real involving stuff, and that car chase was frighteningly intense. WOTN never loses it's intensity, thanks to it's well structured and exciting plot. A real fine drama, and a must see, only I would of really liked to see Phoenix, give it more to that badarse near the end.
SnoopyStyle It's 1988 Brooklyn. Bobby Green (Joaquin Phoenix) runs a lavish nightclub El Caribe and is in business with questionable characters. Joe Grusinsky (Mark Wahlberg) follow his father Burt (Robert Duvall) into the family business policeman. Bobby is actually his brother using his mother's maiden name. Only his girlfriend Amada Juarez (Eva Mendes) knows his secret. Joe and Burt ask him to help spy on the Russians for narcotics but he refuses. After they raid Bobby's club, Joe gets shot. It gets more and more dangerous as things spiral out of control.This is an amazing cast and they all do a good job. This should be great but it's merely good enough. It has a gritty feel but somehow not realistic. Something is missing that I have to put down to writer/director James Gray. It has more the feel of the 70s like an older Godfather movie especially with the music selection. It may be the yellow tint on everything or the washed out colors. It throws me off with the realism of the movie. Even the subtitles reminds me of The Godfather. It's suppose to be late 80s and I don't get that sense. Joaquin does his usual great work. Mark Wahlberg matches him. This should have been such a great movie.
tieman64 This is a review of "Little Odessa", "The Yards" and "We Own the Night", three crime dramas by director James Gray.Released in 1994, "Little Odessa" stars Tim Roth as Joshua Shapira, a volatile criminal who has been exiled by his family. A "prodigal son returns" narrative, the film watches as Roth returns to his family home. Though his relatives still distrust him, Joshua is idolised by his younger brother, little Reuben Shapira (Edward Furlong). The film ends, as most "prodigal son" tales do, with Reuben dying, paying for his brother's sins."Little Odessa" was Gray's debut. It's a very good drama, well acted by the always electric Tim Roth, but the film's ethnic details are unconvincing and Gray falters in his final act with an obvious, overblown sequence in which little Reuben is accidentally gunned down.Gray followed "Odessa" up with "The Yards" (2000), a crime drama set in the commuter rail yards of New York City. The film's structure is similar to "Odessa", and sees Mark Wahlberg playing an ex-convict who returns home after a short stint in prison. Wahlberg attempts to stay clean, to keep his nose out of crime, but is drawn back into the criminal underworld by a friend played by Joaquin Phoenix. The film retains the "brotherhood dynamics" of "Odessa", Wahlberg playing the "good son" who eventually turns on his suffocating sibling. Once again the film ends with a ridiculously over-the-top death sequence.While "The Yards" has a certain, smothering pretentiousness about it, convinced about its own importance (it's lit like Rembrandt, street fights are filmed like Visconti's "Rocco and His Brothers" and it's reaching for the tone of Coppola's "The Godfather"), Gray nevertheless cooks up some wonderful strokes, like a beautifully sensitive welcome-home party, a wordless assassination attempt and a fine, aching performance by Wahlberg. It's a great mixed bag.Gray then directed "We Own The Night", arguably his best crime flick. The "good brother/bad brother" motif returns, this time with Mark Wahlberg and Joaquin Phoenix playing a pair of brothers on either side of the law. Phoenix's a perpetually high playboy who owns a nightclub frequented by drug-runners and mafia types, and Wahlberg's a straight-arrow cop trying to keep the streets clean. When the mafia unleashes an assassination campaign on local cops, Phoenix switches allegiances, goes undercover and attempts to take down the mob. There are touches of "Donnie Brasco", "Rush", "Point Break", "Serpico", "State of Grace", "Infernal Affairs" and every other "undercover cop" movie you can think of, but the film is beautifully lit, is atypically straight-faced and features a superb, rain-soaked car chase.Some have suggested that Gray's trilogy should be celebrated for working in a "classical", almost conventionally Greek mould. That his conventionality suggests that all his characters are at the mercy of already in place contours, their fates forgone. Mostly, though, Gray's trilogy highlights the ways in which contemporary artists have struggled to conceive of a response to postmodernism. The crime movies of, say, Tarantino and Scorsese, are unashamedly postmodern, toying with and regurgitating clichés from 1930s Warner machine gun operas and MGM crime flicks. They aren't about "crime", so much as they're pastiche jobs, jazzed up films about crime films. As a response to this aesthetic, artists who deem themselves "serious", who rightfully ask "what exactly comes next?", tend to look backwards at what came before, as though post-war modernism, by virtue of being modernism, is intrinsically "the solution". This leads to classically shot and written but wholly regressive fare like Gray's trilogy, which essentially unscrambles the world's Scorseses and Tarantinos and puts you right back in the 1940s, minus the irony and flippancy.But you can't go backwards in this way; your audience will always be ten steps ahead and there will always be a huge chasm between your solemnity and the tired insights your film delivers. This is why true progressive works in the genre, for example fare like "The Wire", which actively attempts a cognitive mapping of both global capitalism and crime, are neither modernist or postmodern, whilst possessing the vital traits of both. Philosophers have alternatively coined this new movement "neoprimitivism", "pseudomodernism", "participatism", "post-post modernism", but the one that seems to be sticking is "new modernism".Whatever you call it, this hypothetical movement rejects postmodern nihilism (nothing matters, there is no "truth", it's just a film), actively tries to convey the complexities of our world, and covertly believes that it is possible and necessary for individuals to make value judgements, take stands, approach objectivity, and back facts up. It is modernist in its desires to "understand", "teach", "decipher" and "make better" the world, and in its emphasis on culture, society, technology and politics. The movement doesn't reject postmodernism, but co-opts its tropes and bends them to suit its aim, questioning agency, subjectivity and attempting to piece together the fragments and multiple perspectives that typify complex systems. In short, truly relevant crime films simultaneously simulate our contemporary environment of junk, noise, commerce and static, before proceeding to decode, organise and target roots. As William Gibson said way back in the 1980s, future great artist will function like search engines, mapping and making sense of the detritus. Gray goes backwards to when there was less noise.7.9/10 - Worth one viewing.
sheepmonk2000 As you may have guessed from my summary I turned this movie off before it ended...and here's why:The plot: derivativeThe characters: StereotypicalThe direction: Cliché - too dark (literally)The acting: Just OK apart form Mark Whalberg who is extremely irritating.The score: AbysmalSo all in all this movie was pretty terrible. The pacing is so painfully slow that at 45 minutes I felt like I had been watching the film for at least 3 hours. Everything about this movie is boring, boring, boring and my advice to anyone thinking about seeking this one out is simply don't, as you will be left disappointed despite the ridiculous high rating the film has on this website that suggests otherwise.