The 25 Best Movies of the Century: No. 3 - '25th Hour’

Key Takeaways

Sean and Amanda ranked Spike Lee's '25th Hour' third on their 25 best 21st-century films list.
The 2002 film is an under-discussed masterpiece deeply resonant with the post-9/11 era in New York.
Edward Norton's subdued performance as Monty Brogan marked a career highlight, exploring resignation and regret.
Spike Lee's distinct stylistic choices and Rodrigo Prieto's cinematography contribute to the film's emotional impact.
'25th Hour' critiques corporate power, explores complex male friendships, and nuances morality in its narrative.

Sean Fennessey and Amanda Dobbins discuss Spike Lee's 2002 film '25th Hour' as part of their "25 for 25" series.
The film was initially ranked second on their list of 25 best 21st-century movies but moved to third after a 'crisis of confidence'.
Hosts noted its surprising absence from audience guesses despite its high critical regard by themselves and others like Chris Ryan and Spike Lee himself.

'25th Hour' is analyzed as a 'loss of innocence' film, contrasting its bleakness with hopeful narratives like Sam Raimi's 2002 'Spider-Man'.
The film's direct engagement with immediate post-9/11 feelings of uncertainty and fear might make it difficult for audiences to revisit.
Amanda Dobbins views '25th Hour' as a major convergence of artistic and personal significance, reflecting the present moment.

Edward Norton's portrayal of Monty Brogan in '25th Hour' is cited as a career peak in 2002, one of four films he headlined that year.
His performance is described as subdued and internal, reminiscent of 1970s tragic characters like Al Pacino or Marlon Brando.
A scene with Monty's internal "fuck you" monologue externalized in a mirror highlights themes of self-loathing and New York's abrasiveness.

The film depicts collective rage and sadness post-9/11, particularly through a character's 'f--k you' rant and scenes near Ground Zero cleanup efforts.
It explores thematic richness, including a critique of corporate power, referencing Enron executives and the symbolism of the Twin Towers.
The narrative also introduces complex male friendships, contrasting Frank's insistence on survival with Jacob's initial acceptance of finality.

The film explores Monty Brogan's desire to be beaten before prison, signifying male expression and frustration regarding his arrest and potential betrayal.
It delves into the specific legal context of early 2000s drug trade, referencing mandatory minimums and the Rockefeller laws.
The narrative presents a nuanced morality, fostering affection for the flawed Monty despite his failures as a criminal and his impending seven-year prison sentence.

'25th Hour' is noted for its 1970s sensibility in exploring the "perils of masculinity," including "creepy" behavior towards underage women.
Sympathetic casting of actors like Philip Seymour Hoffman and Edward Norton makes morally questionable actions impactful, particularly Hoffman's club scene.
The film also critiques New York City's status-seeking culture and the "soulless commodification of people" observed in the financial world.

The film depicts a strained yet sincere father-son relationship, highlighting Monty's struggle to communicate his reality to his father, played by Brian Cox.
The ending features Monty's father deliberately orchestrating an assault to facilitate his son's escape from prison.
This leads to an imagined sequence of them driving towards an uncertain future, praised for its dreamlike quality and emotional impact with integrated flashbacks.

Rodrigo Prieto's cinematography is praised for giving '25th Hour' a unique texture and sensibility, working alongside collaborators like Terrence Blanchard.
The film received rave reviews from critics like A.O. Scott and a 3.5-star rating from Roger Ebert, who compared Monty to Enron's betrayal of trust.
Despite its critical acclaim, the film lacks the widespread recognition of other acclaimed 21st-century films, notably absent from The New York Times' list.