Chicago Sun-Times
Roger Ebert |
7 |
...the film is made with confidence and energy and is well acted by the principals. |
Chicago Tribune
Michael Phillips |
5 |
...lugubrious... |
E!
Alex Markerson |
5 |
...racks up big debts to old-school cop movies such as Serpico and The French Connection but never quite pays off, despite decent performances from Joaquin Phoenix and Mark Wahlberg. |
New York Post
Kyle Smith |
5 |
...doesn't say a lot except We Own a Lot of Scorsese DVDs. |
TV Guide
Ken Fox |
6 |
...earnestly acted, typically dour but dully formulaic... |
Reel
Gary Goldstein |
7 |
...as a serious adult crime yarn, you could do far worse. |
Slant Magazine
Dan Callahan |
8 |
...confirms James Gray's position as a major American film director. |
Rolling Stone
Peter Travers |
7 |
...defiantly, refreshingly unhip. |
Entertainment Weekly
Owen Gleiberman |
6 |
Gray is a far better director than he is a writer. He's got the talent to make great movies. He just needs to stop trying to. |
New York Times
A. O. Scott |
6 |
The problem with We Own the Night is that it mistakes sentiment for profundity, and takes its ideas about character and fate more seriously than it takes its characters and their particular fates. “I feel light as a feather,” Bobby says in a crucial scene, at which point the movie starts to sink like a stone. |
Los Angeles Times
Kevin Crust |
7 |
...Gray's skill with meting out suspense pays considerable dividends. |
People
Leah Rozen |
4 |
...a pretentious crime drama... |
LA Weekly
Nick Pinkerton |
7 |
...finally resonates as a beautiful, dolorous nocturne. |
Village Voice
Nick Pinkerton |
7 |
...finally resonates as a beautiful, dolorous nocturne. |
Onion AV Club
Scott Tobias |
7 |
...plays like a masterpiece because it skillfully appropriates actual masterpieces, not because it earns the label on its own merits. |
Maxim
Pete Hammond |
6 |
...pulsates with a raw energy and rhythm all its own. |
Premiere
Glenn Kenny |
6 |
...can't sustain itself; as the stakes of the story get higher, Gray paints it in broader and broader strokes until there's almost nothing you can believe in it anymore. |
Christian Science Monitor
Peter Rainer |
8 |
It's awfully difficult at this point in film history to come up with a car chase that's startlingly new, but Gray pulls it off. It's the best of its kind since The French Connection. |
This movie is available on DVD/Video