25th Hour (2002)

Premise: On his last free day before a seven year prison sentence, Monty (Edward Burns) says goodbye to his dad (Brian Cox), has one last hurrah with his two best friends (Barry Pepper and Philip Seymour Hoffman), and tries to figure out if his live-in girlfriend Nat (Rosario Dawson) is reasonable for his fall.

I've read a couple of things in year-end round-ups that have celebrated the return of Spike Lee or, more specifically, the return of quality Spike Lee joints. Between Inside Man and When the Levees Broke: A Requiem in Four Acts , he's certainly had a successful and lauded year, but I found myself replying, "What about 25th Hour?"

Sure, there are a few commercial and critical failures wedged in between, but directing David Benioff's self-adapted screenplay is one of the best things Lee has ever done. I feel no shame in telling you that I love this movie. I've watched three times already, and I hope there is no end to the screenings.

The book came out pre-9/11, but under Lee's initiative Benioff rewrote what remains the clearest and most honest depiction of post-9/11 New York in a film to date (Rescue Me does the same thing on TV) . Lee weaves that reality in seamlessly with Benioff's original tale of melancholy, and it works because of the way events and emotions are allowed to inform each other in the story. It is as compelling and heartbreaking as they come.

The supporting cast is bar none with note perfect performances from Hoffman (no surprise there), Cox, Pepper (one of the best supporting actors out there), Anna Paquin, and Dawson. I like Dawson, but I'm still surprised when she really brings it in a movie. Dawson lets the way Monty's life and money have altered her bleed through Nat's every word and action. The two-step Monty and Nat are doing throughout the film is as realistic and lived-in as it comes.

O Edward Norton! Bully for me that it's time to promote The Painted Veil, which means that I read two interviews with him this morning. Is there an actor that can pack as much intensity into his wiry frame? Actually, I got to thinking this morning about how Norton and Ryan Gosling are cosmic acting twins (watch American History X and The Believer before you tell me I'm wrong), so I'd really like it if the two could star opposite each other in a movie. Maybe Norton's the good guy and Gosling's the bad guy, and maybe there's some sort of a reversal? We'll iron out the details later. I've never seen Norton do something I can't get behind (mind you, I never bothered with Death to Smoochy), and . . . well, I think this might be my favourite of his performances. Monty's got this sort of languid tiredness that fits with his depression, but Norton shows him trying to fight his way out of it in order to enjoy his last moments, as well as trying to find a way to survive once he gets there. I was already choked up twice over by the time I got to his bravura soliloquy, but Norton just had to push it a little further into a breathtaking cinematic moment that redraws the line on a love-hate relationship. And, as a bonus to me, Benioff and Lee make it a reference to my favourite part of Catcher in the Rye. And, oh, how does he do that thing with his voice when Monty finally figures out which way is up? So much hurt and betrayal!

Okay, I've got to stop with that now before I spend the rest of the day waxing rhapsodic over Norton's undeniable talent.

If I were to put together a list of American filmmakers, that being those who showcase their deep love of their country in their films, Lee would hover near the top. I suppose it's the same love-hate relationship that Monty has with New York, impossible to ignore. Much like the film. A+