One of my favorite Spike Lee Movies.

So so good. Covers all bases and the ending itself is inspired.

Beautifully photographed and acted, this post 9/11 meditation is ostensibly about the last few hours of freedom for a drug-runner as he hangs out with old friends, his girlfriend, and his father. Terence Blanchard contributes a terrific melancholy score and the subject matter widens to include themes of greed and illicit lust, emphasising the flaws and frailties we all share.

A movie without purpose, seriously, they just hired a bunch of good actors to act upon a seriously uninteresting plot.

гарний фільм. я розслабився коли його дивився. після перегляду не втримався і випив 50 грам вина. Фільм налаштував на приємні думки. Актори молодці

Ed Norton, PSH, AND Logan Roy??? Unfortunately didn’t live up to the fun vibe of the trailer; most of this is honestly too slow and boring. In the club there’s a glimmer of something fun and twisty coming but ultimately it fumbles the opportunity for something interesting to happen. Also I found the score never really matched the scene; overly theatrical while the plot was underwhelming, like they were trying too hard to make me feel something. Some fun shots/angles/lighting, and great cast! I’m

Turned it off after 15 minutes

How would you spend your last few hours of freedom? Monty Brogan is about to go to jail for a long time, so he spends his remaining freedom with his friends, reflecting on his actions as his final hour ticks by before he's supposed to go to prison. An intriguing look at the world after 9/11, this fascinating character study manages to stay with you long after the film credits roll!

This was such an underrated movie

This is a highly underrated film. It has an all star cast, great dialog, and brilliant story. It's definitely a film for adults. I would say it's spike Lee's best film.

A movie that feels like a Don DeLillo novel, with it's terrific and sharp dialogue, its love of New York, it's indomitable Irish. The place the hero finds himself in is not so different from Nick Shay's. The desert where our hero is perhaps led to is also the resort for the heroes of DeLillo, who turn to the desert when they need to think. I'll probably never get rid of this association now, especially with "Underworld" (1997) and "Point Omega" (2010).

This movie was incredibly boring and pointless. What’s with the double takes too? No thanks

Picked this movie not knowing it was a Spike Lee production. The love for NYC shines through. Pleasant to watch realism mixed in with some moments of dreaming which were quite well enlaced. I really enjoyed the realism of the character Frank, with his sincerity, which made it more poignant that he's in the final scene, musing on what happened.

Spike Lee's bland acid-noir concrete vision. It is a whole metropolis of him, a ghetto that is no longer a ghetto, whitened, it is also the city of urban anthropology that touches the asphalt but is not underground. You go to borrow a few fights from Fight Club without touching the high tech concept, beyond the beautiful monologue in the mirror with an abstractly discriminating and xenophobic force; it is almost a Hamletic soliloquy. Perhaps Spike Lee's most beautiful film, or at least the most surprising in the whimsical movements of the camera.

Underrated gem that is ‘great' for lack of a better term and with an excellent monologue. I surprised myself with giving it a 4 ½ of 5. JoBlo.com said it best - BEST MOVIE YOU NEVER SAW

This film about post-9/11 New York City was mildly amusing.

The concept alone — a man's (Edward Norton) final 24 hours before he begins a 7-year prison sentence — has its own tension and naturally accumulates anxiety with each passing minute. Monty (Norton) probably did some bad shit (he was a heroin dealer for the Russian Mob), but we don't really see any of it, so he's a sympathetic character. Frank (Barry Pepper), a Wall Street financier, has an apartment that overlooks the World Trade Center's rubble in the aftermath of 9/11. In fact, the whole post-9/11 context transported me back to that time, which forever changed our country. From this, we get Monty's tirade against seemingly every group that inhabits the city — Dominicans, Italians, Pakistanis, Russians, Puerto Ricans, etc. etc. — while looking in a bar bathroom mirror. I found myself much more interested in how Monty was handling his final moments as a free man than determining who had sold him out to the DEA. The Naturelle (Rosario Dawson) subplot concerning whether or not she had sold her man up the river didn't make sense to me. What was her motivation? She lived a really good life with Monty, but once he went to prison, she would have to move back in with her mother and would lose his income stream from dealing drugs. Frank's suspicion and interrogation of her seemed like a waste of time. What really did it for me was the ending. James (Brian Cox), Monty's father, on the drive to prison attempts to goad his son into fleeing, moving out West, laying low and eventually reunite with Naturelle, start a family. The voiceover (with Cox's incredible voice (Yes, I know the irony re: his character in Adaptaion)) makes you feel it right in the chest. You forget, and then hope, that it's not a plan, but Monty's reality. That Monty had listened to his father and they took that bridge out of New York and into the plains and mountains and deserts of the country where Americans had escaped to restart their lives for years. It's a beautiful monologue, but the fact it's merely a father's wish, is an even better ending.

Hey, did you know that the author of the original novel that this film is based on is David Benioff himself? That's right, one of the most significant cinematic explorations of the national consciousness after 9/11 had its source material penned by the guy who dropped the handoff on S7/8 of Game of Thrones. Spike Lee has usually been pretty hit or miss for me; he's either clever, funny, and insightful or mind-blowingly on-the-nose. Maybe it's because Lee had so little to do with the writing and had more time to showcase his talents as a pure director that the film comes across as so distinct from many of the other Lee joints (though his particular treatment of New York City is just one of his anachronisms that you can still find on display here, like a few very prominent American flags). Whatever the reason, in an iteration of Hollywood that seems to have been shockingly unwilling to take on sincere dramatic takes on 9/11, contenting themselves to drop a couple courageous or feel-good storylines (Extremely Loud & Incredibly Close, Flight 93) that don't even touch on the sense of loss and grief that an entire country experienced. In this film, Lee and Benioff use the last hours of a man's freedom before incarceration as a means of exploring a wider sense of self-reflection - what is important, how do we deal with tragedy? But then again someone on the team decided to call out 'Sopranos wannabees' and then cast Isiah Whitlock Jr. just to say "Sheeiit" in the same way he was notorious for doing on another HBO classic, The Wire, so I guess there's some room for opinion on whether every creative choice with this film was the right one. (3.5/5)

Spikes lees 25th hour comes out as a mixed bag, with some brilliant scenes and some poor directing and filmmaking in another. Edward Norton like all his roles steals the show, a truly fantastic actor who has a deep passion for the acting roles he commits himself to. Some of the writing, dialogue and acting performance from Norton combine to have you completely entranced. The mirror scene as Monty looks deeper within himself and his hatred reminded me of American History X. The last scene with his father fantasying about the life his son could've lived was also done incredibly well. Where the film fails is the filmmaking itself, there's so many jarring unneeded edits that show shots multiple times. Most of the dialogue between the characters last way to long. It's not like they are talking about things of importance within the story. Overall most of this film could've been cut and edited much better.

Sometimes a single monologue is enough to elevate a movie from good to great. The 25th hour is one of those few times.