25th Hour

Without a doubt, one of my top 10 films of all time, Edward Norton had been wanting to collaborate with Spike ever since He got Game. which Norton considers to be a personal favourite

As far as I know (which means the following information is as reliable as your neighbours account of seeing Lord Lucan yesterday) this is the first film Spike Lee was a part of as a Director where he did not write the screenplay. He knew it had enormous potential obviously, the cast alone is enough to spark interest. It's the story of Monty, a guy who has one more day of freedom before he serves a 7 year sentence for dealing drugs. If that wasn't enough to deal with, he is left to ponder who sold him out and has been giving his girlfriend Naturelle some very uneasy looks as of late.

Monty's two friends Frank and Jacob lead very different lives. Jacob is a school teacher fantasising about one of his students. Frank is a high roller on Wall street flexing his ego by making bold moves on the stock market. Neither is arguably any less deviant in nature than Monty, instead, their lives and behaviour reflect the choices they have made.



Monty's father played by the great Brian Cox is a retired fireman with a bar. Monty's loyalty to his father is reflected in his actions throughout the film, his father had put up his bar as collateral for Monty's pre-sentence freedom.

One of the most powerful scenes in the film comes when Monty gives his angry summary of New York city's neighbourhoods and it's residents of different backgrounds. It all begins with a "Fuck you" on the mirror, it ends with Monty's reflection telling him to take a better look at himself, to stop blaming others for his predicament and take responsibility for his choices in life. It's a scene that pertains to the film but is also a separate message, to New York but also to the world. At the end of the film we see a message left with a heart stating, "You can't stop New York city" It's very powerful. You must remember this is one of (if not the) first films released after 9/11. The view above Frank's apartment is the closest they could get to the remains of Ground Zero. Frank and Jacob bicker about Monty's predicament and display different levels of sympathy dealing with it as their own fears become more apparent. Frank in particular practically sentences Monty to death with his opinions yet later on in the club when Monty says similar things about his chances, Frank argues that this is nonsense and he'll survive just fine. The conversation with Jacob is the first in the film that really emphasises that Monty is a Dead man no matter what choice he makes between Suicide, running or facing the music. The film is about mortality and without the presence of death lingering in the limelight. The choices we make have real consequences. Monty asks Jacob to take dog that Monty saved from being left for dead. Monty identified with the little fighter and when Jacob questions the size of his apartment Monty replies in a suspiciously optimistic manner. The emotional distance of describing the himself through the dog gives him temporary comfort as he comes to terms with his fate.

Doyle's a tough dog, he'll learn to live in a small space, he'll survive

Spike has always liked his dolly shots and their is a real gem featuring Phillip Seymour Hoffman in the club, shortly after he imposes himself romantically (I say that loosely) on his student Mary, we see him moving in front of the camera with a look so indescribable it deserves a watch. Feel free to laugh as you feel sympathy for him!

As the three friends stare into the ocean in the early hours of dawn, Monty suggests living the life of working on a tugboat. It seems so nice because from the outside it looks like three guys discussing the possibilities of life, but it actually stings with pain as Norton is an hour or two away from prison.

It's followed by one of the most uncomfortable scenes I've ever witnessed comes from Monty asking Frank to beat him to the point of ugliness. Monty is scared and doesn't want to go into prison looking all pretty... arrogant much!?!? Kind of like the Scene in Gridlock'd where Tupac asks Roth to stab him, only without the humour! It's a horrible scene to watch but it's actually admirable in a repulsively sick way, how many people could actually do that to someone as a favour in the spirit of friendship? Not many I'd imagine, but I guess it doesn't come up that much...

One of the coolest moments of the film comes as Monty views all of the members of the neighbourhood that he insulted earlier. A young boy on the bus spells out his name in the window as Monty does the same. Tom (almost Monty backwards) takes off in the opposite direction both on the road and hopefully, in life.

The end of the film is very sobering, the consequences have seemingly been dodged as we believe Monty has decided to run at the last minute as his Father drives him to the West Coast to start a fresh. But he's still in the car, dreaming of a life that "came so close to never happening"