Brooklyn, 1988. Crime is rife, especially drugs and drug violence. A Russian thug is building his heroin trade, while everyone laughs at the cops. Brothers have chosen different paths: Joe has followed his father Bert into New York’s Finest; he’s a rising star. Bobby, who uses his mother’s maiden name, manages a club. Bobby too is on the rise: he has a new girlfriend and a green-light to develop a Manhattan club. Joe and Bert ask him to help with intelligence gathering; he declines. Then, Joe raids Bobby’s club to arrest the Russian. From there, things spiral out of control: the Russian puts out a hit on Joe, personal losses mount, and Bobby’s loyalties face the test. —IMDb
Bio: Writer/director James Gray made his first film Little Odessa (1994) at the age of twenty-four. The film, which starred Tim Roth, Edward Furlong, Vanessa Redgrave and ‘Maximillian Schell’, received critical acclaim and was the winner of the Venice Film Festival’s prestigious Silver Lion Award in 1994.
Miramax Films released James Gray’s second feature, The Yards (2000) starring Mark Wahlberg, Joaquin Phoenix, Faye Dunaway, Ellen Burstyn, Charlize Theron and James Caan in fall of 2000. The film was selected for official competition at the 2000 Cannes International Film Festival. Prior to ‘The Yards’ and ‘Little Odessa’, Gray attended film school at the University of Southern California. It was there that his student film Cowboys and Angels was first seen by producer Paul Webster, who encouraged Gray to write his first feature script.
As a child growing up in Queens, New York, Gray aspired to be a painter. However, when introduced in his early teenage years to the works… read more
A sensatonally staged, rain-drenched car chase notwithstanding, We Own The Night is an utter mess of a film. Lacking real tension, the film suffers at the hands of Gray's pointless script, Phoenix's dribbling mess of a performance and a real waste of some talent in smaller roles. When a film makes even one of the greats in Duvall look ordinary you know something is wrong. Tedious and utterly disappointing.
At times strikingly effective, this more ambitious and complex than average cop drama gets a little bit bogged down by dull dialogue and some too easy and weird plot mechanics.
No one makes action sequences as moral as James Gray. As in The Yards' hospital scene, this film's set pieces evoke empathy rather than detached suspense, privileging emotion over the fetishising of physical reality. Vicious POVs ground us in hellish isolation while the objective shots deny any succinct sense of space. The car chase is chaotic to the point of producing a serene helplessness I've never felt before.
Gray is at BAMcinématek tonight. And Offscreen focuses on Fellini and Powell and Pressburger.
A version of this essay was published in German, in the film magazine Cargo, in June, as a DVD review. The Auteurs Notebook now presents the
OK, so let me get this straight. If you have a father and brother in the NYPD and your regular drug use qualifies you as having “special knowledge” about a drug case, you can become a deputy NY police… read review
Writer/Director James Gray has made three films with six or seven years in between each. His newest is the cop drama We Own the Night, a pretty basic tale of brothers on different sides of the law… read review