Helden der Nacht

Ein kleiner Film, der eher unauffällig ist. Er ist aber offener und emotional wirklicher als das Konkurrenzwerk American Gangster. Ausgezeichnete Schauspieler*innen, die sexy Eva Mendes und eine großartige Autoverfolgungsjagd, die das Blut in den Adern gefrieren lässt. Very good job, folks! (18.02.2008)

Diese Oldschool-Angelegenheit mit allem Drum und Dran war unterhaltsam. Vielleicht lag es daran, dass ich bis heute den Film Departed – Unter Feinden nicht gesehen habe, mit dem Helden der Nacht - We Own the Night oft verglichen wird. Kurzum: Ich habe einen guten Film mit einer einfachen Geschichte gesehen, den der Regisseur in einen anliegend harten und schicken Mantel gewickelt hat. Die Schauspieler*innen waren toll, Kilars Musik und die geschmackvoll ausgesuchten Lieder haben mir auch gefallen. Die Stimmung von manchen Szenen ("die Feder", der Transport – der vor allem – und das Ende) war unglaublich realistisch. Obwohl der Film knapp zwei Stunden dauert, verging er wie im Flug. Schade, dass er manchmal völlig unlogisch war. (12.03.2011)

From the first scene, it is clear that Bobby likes having matters in his own hands. That certainty, which sharply diminishes from the first plot twist (to the point of notably wandering through smoke), reflects the doubtfulness of the United States at the end of the 1980s. Though, in the spirit of the Cold War, the villains are Russians (Soviets), nationality ceases to be a determinative, distinguishing feature for the emerging multicultural melting pot. The important things are attitudes, politics and, in particular, relationships. Relationships within families and “families”. The law is an obstacle. Only two things connect Bobby with the much more scrupulous Joe: the authoritarian character of their father and religion. In order to find the way to his brother, Bobby has to reassess his attitude toward both. The primary attraction of We Own the Night is not one and a half action scenes, but rather the thought processes of the well-drawn protagonists. The actors and the confining environment that envelopes them make watching their change in behaviour an absorbing experience. Crime is everywhere around them; only tight-knit families are safe. From the film’s long sequences, you sense something bad coming and you know that what is supposed to happen is going to happen. This fatalistic “givenness” of everything that occurs gives the film elements of ancient tragedy, including suffering in slow motion. Only a few dim-witted moments have a detrimental effect on American mainstream attitudes to the notably slow, sad and penetrating crime story (a moment ago you were almost a drug dealer, but now we’ll let you be a cop, because you have to pay your debt). Otherwise, I recommend watching Gray’s preceding film, The Yards, which elaborates a similar theme and with its cast (Wahlberg, Phoenix) also has a lot in common with We Own the Night. 75% (26.03.2018)

This unbalanced police story suffers from: a) an acute lack of tough guys, b) narrative dilettantism, and c) too much chatter. So for next time: Mark Wahlberg is not suited to the role of a good daddy, and if Joaquin Phoenix wasn't such a big shot we’d have a hard time buying into his "family" motivation. In addition, brotherly relationships can be cemented in action, not by crying on a shoulder. The Departed is on another level... (30.03.2008)

Quite a pleasant surprise in the end. James Gray has improved quite a bit, after the previous very boring, almost TV-like The Yards this is way better. At times pretty suspenseful (the visit to a drug den, the car chase in the rain), at times ridiculously theatrical; overall a better 3*. The bloodless Wahlberg is much neglected, Eva Mendes serves as mere decoration, basically the whole thing is pulled by a superb Phoenix, it’s a terrible shame that he plays in so few films. (01.02.2008)