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Bobby Green is a manager of a Gotham's hottest clubs, but behind the scene it is a blind eye to monitor criminal activities. Bobby will be a target of the city's dangerous criminals if his sensitive information is revealed
A generic thriller that aims for deeper resonance, We Own The Night is an intriguing feature, undermined by a plot that stretches credulity, yet which still manages to conform to predictable gangster flick cliché.
It's not surprising, but it's engaging enough that most patrons will likely cut the director some slack for the out-of-period details and convoluted plot contrivances that make the film seem at once sloppy and too neat.
Director-writer James Gray makes it all seem more urgent than it has any right to feel, because he knows how to make tense, violent dramas that are soaking in mood.
Time will tell, but from where I'm sitting this deceptively routine cop movie runs deep. In fact, it already looks like a classic. Cagney and Tracy would be proud.
If We Own the Night is flawed and somewhat choppy, it served notice that Gray, once he refined his technique, would be a force to be reckoned with in the cinema world.
Although We Own the Night is never as suspenseful as it wants to be and can be a little formulaic, it never comes close to being boring, and that's something you can't say too often about movies these days.
[Gray's] feel for dialogue has rarely failed him, and it doesn't here.
January 18, 2008
Time Out
A desperate violence and urgency spills out in the film's flash-point set-pieces - not least a sensational car chase, shot through a windscreen, hammering rain and a blur of fear.