25th Hour (2003) - Rotten Tomatoes

25th Hour2003

25th Hour (2003)



Critic Consensus: An intelligent and well-acted film despite the usual Spike Lee excesses.

25th Hour Photos

Movie Info

The clock is ticking on Monty Brogan's freedom--in 24 hours he goes to prison for seven long years. Once a king of Manhattan, Monty is about to say goodbye to the life he knew--a life that opened doors in New York's swankiest clubs but also alienated him from the people closest to him. In his last day on the outside, Monty tries to reconnect with his father, who's never given up on his son, and gets together with his two closest friends from the old days, Jacob and Slaughtery. Also in the mix is his girlfriend, Naturelle, who (or might not) have been the one who tipped off the cops. Monty's not sure of much these days. But with time running out, there are a lot of choices to be made.

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Edward Norton
as Monty Brogan
Barry Pepper
as Frank Slaughtery
Rosario Dawson
as Naturelle Rivera
Anna Paquin
as Mary D'Annunzio
Brian Cox
as James Brogan
Tony Siragusa
as Kostya Novotny
Michael Levanios Jr.
as Uncle Nikolai
as Uncle Nikolai
Tony Devon
as Agent Allen
Misha Kuznetsov
as Senka Valghobek
Isiah Whitlock Jr.
as Agent Flood
Michael Genet
as Agent Cunningham
Al Palagonia
as Salvatore Dominick
Brad Williams
as Trader No.1
Radu Spinghel
as Zakharov
Oleg Aleksandrovich Prudius
as Russian Hood No. 1
Igor Zhivotovsky
as Russian Hood No. 2
Michole Briana White
as Coventry Administrator
Vanessa Ferlito
as Lindsay Jamison
Coati Mundi
as Louis Volandes
Christine Pepe
as Female Jogger
Lawrence Bullock
as Chelsea Man No. 1
Patrick Illig
as Chelsea Man No. 2
Maja Niles
as Woman on Park Avenue
Daniel R. Reton
as Wall Street Guy No. 1
Ed Rubeo
as Hasidic Jeweler
AJ McCoy
as Squeegee Man
R.L. Brazil
as Bouncer
Howard Crowns
as Tattoo Parlor Worker
Jamil Mullen
as Lady with Baby
Louis Modafferi
as Brogan's Bar Patron
Alan Taraseiwicz
as Brogan's Bar Patron
Nicholas Rossomodo
as Brogan's Bar Patron
Jeffrey Palazzo
as Brogan's Bar Patron
Douglas Miller
as Brogan's Bar Patron
Mike Fiore
as Brogan's Bar Patron
Andre Fletcher
as Brogan's Bar Patron
Carl Bini
as Brogan's Bar Patron
Joseph Mascall
as Brogan's Bar Patron
John Bergen
as Brogan's Bar Patron
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Critic Reviews for 25th Hour

All Critics (176) | Top Critics (42)

It's an odd movie, maybe odder than it should have been if this is Lee's attempt to make a more widely accessible, less issue-based movie.

January 2, 2018 | Full Review…

While 25th Hour has a several arresting characters struggling with credible problems, regrettably Monty isn't one of them.

February 9, 2006 | Full Review…
Top Critic

A turgid, bombastic and outrageously self-satisfied movie.

July 8, 2003 | Rating: 1/5 | Full Review…

Superbly acted, as you would expect, it's also rich in moral nuance. Doing the right thing is not as simple in his films as it once was.

June 6, 2003 | Full Review…

25th Hour is the first film I've seen that explicitly catches the grief of New York City in the aftermath of 9/11.

April 26, 2003 | Full Review…

Lee's best picture in years.

February 18, 2003 | Rating: 4/5 | Full Review…
Top Critic

Audience Reviews for 25th Hour


With an overly depressing color palette, awfully jumpy editing, subplots that go nowhere and an ubiquitous melancholy music that never stops for a second, Spike Lee overloads his film and seems desperate to drag us into a bottomless abyss of sadness at nearly all costs.

Carlos Magalhães
Carlos Magalhães

Super Reviewer

A riveting, hard hitting look on the life of a soon to be con (Edward Norton), and his final day of freedom as he spends it with his childhood friends (Barry Pepper and Philip Seymour Hoffman) and girlfriend (Rosario Dawson), as he tries to uncover who ratted him out on selling drugs that landed him a 7-year sentence. Norton, one of the best actors on the planet, is spellbinding, and a terrific supporting cast to go along with the fantastic storytelling of Brian Cox near the end makes it a knockout. For those who love films that effortlessly detail their characters, who we come to care for, this is a movie for you. The ending is one of the most unique I can recall, and the ambiguous nature of it is really haunting stuff.

Dan Schultz
Dan Schultz

Super Reviewer

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.

Jonathan Hutchings
Jonathan Hutchings

Super Reviewer

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