Spike Lee's masterpiece...

Director Spike Lee is an interesting filmmaker. Throughout his lucrative career, Lee has created several films that deeply explore and comment not solely on the respective major characters but also the settings they inhabit. 25th Hour is a multi-layered, elegiac tale of regret, missed opportunity, anger, soul-searching and self-loathing. The film is permeated with profound emotion and rich themes regarding friendship, accountability and masculinity.

Spike Lee perfectly captures the depressive atmosphere of New York City following the devastating 9/11 attacks. Much of the emotion is derived from the gloomy post-9/11 ambiance of downtown NYC, emphasised and highlighted by a key scene set in an apartment overlooking Ground Zero. The film's power is again underscored by the potency of the music: never is it overbearing...the composer keeps the music toned down but unfathomably effective. Director Lee endeavours to include many things in the film, not the least of which is portraying how New York's residents are survivors at heart. This, coupled with the various subtle metaphors and the incredible filmmaking in all aspects, is what makes this Spike Lee's greatest masterpiece.

25th Hour is a story about a drug dealer's search for redemption in his final hours of freedom. Monty Brogan (Norton) has been resigned to a nasty fate. He was found in possession of illegal drugs, and will soon be spending seven years in a maximum security prison. On bail for 24 hours, Monty endeavours to get his affairs in order. As he walks the streets, Monty begins to reflect on his life and how he got into the inescapable situation. Monty attempts to reconnect with his father (Cox) who cannot shake the reality that he is somewhat responsible for his son's fate. Monty also gets together with his girlfriend Naturelle (Dawson) and his two closest friends: Jake (Hoffman) and Frank (Pepper). Even more crucial, Monty cannot avoid the mystery swirling around in his brain of who ratted him out.

The simple plot is just the tip of the iceberg: Spike Lee and screenwriter David Benioff (who adapts his original novel) have woven together a multi-faceted, lamented story that creates engrossing viewing. Director Spike Lee adds a tangible level of anguish to the experience with his decision to not simply set the film in post-9/11 NYC, but also to give the consequences of that tragedy a prominent place in the story. The tone is intentionally depressing. Any sense of hope is deficient - none of the characters care much about the future, merely because, in their differing individual ways, they basically have no future to look towards.

The film's moral standpoint is deliberately ambiguous: while Monty is indubitably guilty of dealing drugs, in no way is he a violent or malicious man - in fact he's quite the opposite as demonstrated in the opening scene during which he rescues a dog that he finds lying in the street, tortured and close to death. Monty also sincerely cares about his girlfriend Naturelle and is never abusive; he also genuinely cares for his father and his friends. However with his contented life effectively terminated, he must decide what to do: running is an option...so is suicide...and both hold some appeal in comparison to what he expects in gaol.

Monty's furious tirade against every ethnic and minority group in the city is probably the most oblique acclamation New Yorkers have ever received. Furthermore, Edward Norton's performance is superb. This is probably the best we've seen him in since American History X: he's believable, unflinching and realistic.
However, the best performance is undeniably delivered by Barry Pepper. The actor is probably best known for his portrayal of the religious sniper in Saving Private Ryan, with a few small-known performances here and there. Pepper's every scene has you engaged and fixated. From his bloodshot eyes gawking at the stock market numbers tumbling past on his computer monitor, to the tragic scene by the river, Pepper emanates a dominant screen presence.
Phillip Seymour Hoffman brilliantly portrays the shy English teacher. Like all the other characters, he's three-dimensional and dosed in a realistic edge.
Rosario Dawson and Anna Paquin are passable as the females of the cast, with a minor appearance of the always reliable Brian Cox.

In essence, 25th Hour is a profoundly intense drama that somehow manages to grasp your undivided attention with the realistic panorama and gripping atmosphere. We're reeled in as Monty must look deep within himself, weigh up his sins and pay his dues before redemption can be earned. All of which makes 25th Hour one of Lee's more thought-provoking and judicious works. However the film isn't entirely well focused and this is a major shortcoming. It strives extraordinarily hard to be various things and serve many causes, in the end compelling the viewer to wonder what much of the content was about. Nonetheless, this causes little irreparable damage, and the film's overall effect remains untouched with its story absorbing. In the end, that's all that truly matters.
The film is still a captivating and enlightening glimpse into the personal drama of a confessed lowlife. It will inspire you to look past the pretty pictures and consider the many metaphors underneath. The 130 minutes in its running time simply flies by. Perhaps some of the sub-plots grow rather preposterous and unnecessary, but the film is deep and gratifying. The final ambiguous montage that closes the film in particular really hits home.

8.8/10