25th Hour (2002)

Spike Lee is a tremendous filmmaker. Sure, he can be a little overzealous and his politics can be stifling, but it's sort of tragic how he's seemingly more known for his controversial subject matter than he is for being an outstanding (and important) director. Indeed, he is one of very few who can simultaneously pull off being a sound visual stylist and a thorough storyteller. Next to Do The Right Thing, there may be no better example of this than 25th Hour.One of the first American movies explicitly set in New York after 9/11, this film is based on a novel by David Benioff (who also wrote the screenplay) that was published well before the attacks. In any case, their aftermath is not so much the topic of Mr. Lee's movie as an important element of its atmosphere. In one of the film's most memorable scenes, two characters talk in an apartment overlooking ground zero, whose floodlighted glare and somber activity make it impossible to concentrate on the dialogue: a case of reality overwhelming fiction. There are also more subtle nods to the aftermath of those horrific events, but Lee smartly doesn't ovedo it; he uses the sociopolitical landscape of a post-9/11 America to great effect here, weaving it into the fabric of his story as a means to enhance, not distract.Undoubtedly, the show-stopping scene in the film is a moment when Monty (Edward Nortion), staring into a men's room mirror, launches into a profane tirade against his fellow New Yorkers (and everyone else). His rage is impressively ecumenical, encompassing blacks, brutal police officers, gays, Osama bin Laden, the rich, the poor and every other ethnic or social type you can think of: all of them put down with ruthless, scabrous precision. Obviously the sequence is very reminiscent of a similar scene in Do The Right Thing, but surprisingly, it's equally as effective here as it was back then (which could be viewed as a powerful statement on how little progress we've made over the years).Of course I'd be remiss if I didn't mention the brilliantly ambiguous ending. It is Lee's mission statement that this isn't a film about a plot, with a beginning, middle, and end. This is an imprint of the isolated times we live in. Who are we as a people? How do we define ourselves in relation to others? The whole film plays in a subdued, almost depressing tone. There are no laughs to be had, no falsely engineered moments where the characters break bread, and cry, and get all remorseful -- none of that. We feel as Monty feels: perplexed, distressed, unsure of those things to come and angry for how he happened to arrive at this place, and moment, in his life -- his last 25 hours.