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Such a great start. Climax is uninspired and pretty boring. It should have been rewritten. The scene with the wire is one of the all time great scenes in movie history therefore the movie gets a 4
Does little to distinguish itself from other mob movies
The critics and audience giving this film a low rating are out of their mind. The script is damn near perfect, the pacing is damn near perfect, the acting is outstanding, the direction is good. I don't know what people are looking for in a movie anymore. If there isn't a cut every 2 seconds in a film or there aren't superheroes or robots people "just can't get into it." The script structure is one of the finest I've seen in recent films. Phoenix doesn't make bad movies. His intensity is unmatched. Wahlberg, who is normally a poor to average actor actually shines in scenes with Phoenix.
We Own the Night isn't as memorable as you would hope with its all-star cast, but there are a few heart-pounding scenes that make up for its subpar storytelling.
With this great cast of actors and obviously a decent budget, great cinematography, this film disappointed because of inferior writing/editing/directing. What began as a very good idea, a family on both sides of the law, the first half was very compelling and then it sort of peaked early, fell flat, then actually got painfully bad. It needed 20 minutes cut off, some scenes done better, and a better ending. I imagine Robert Duvall, Joaquin Phoenix, and Mark Wahlberg all wish they could forget they were in it.
This is a great movie. Brothers are on opposite sides. One good, one bad. Both gunning for the same outcome. Great movie.
I was excited to watch it based on the actors involved. The plot started off really good but got predictable.
Very solid movie. A few decent action pieces and great acting all around. Highly underrated.
We Own The Night and The Immigrant carry the trademark of someone who places intellectual agenda over organic story-telling. This film was even much more ambitious than The Immigrant, subtexts flying all over your faces. Too bad, because Gray did not really allow his characters to bare their souls: I was rooting for a showdown sequence like the prison scene in The Silence of The Lambs, but nothing happened. Too fast, I suppose? But come to to think of it, fast speed can't be an issue: Two Lovers was very fast as well, but what brings it to the level of a masterpiece is the sexiness (of the story and of the central character), something We Own The Night sorely lacks.