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Closed Caption; Deleted scenes; Audio commentary with director Spike Lee; Audio commentary with writer David Benioff; "The Evolution of an American Filmmaker" featurette; "Ground Zero" - A tribute; Dolby Digital 5.1 Surround Sound; THX-certified; Widescreen (2.35:1) -- enhanced for 16 x 9 televisions; French-language track
Full Product DetailsSide #1 --
1. A Good Dog
2. Touched
3. English Class
4. Frank
5. Uncomfortable Sofa
6. Reflection
7. Three Choices
8. Interrogation
9. 62nd Percentile
10. Naturelle
11. Last Night Out
12. Greed and Regret
13. Jake the Snake
14. "Paid in Full"
15. Nikolai's Advice
16. "One Last Thing"
17. Time to Go
18. "Left Turn to Where?"
19. Don't Look Back
20. End Credits
With this superb, gritty urban drama, controversial director Spike Lee proves again that, for all his thematic affectations, he's a formidable talent with a unique vision. 25th Hour, adapted by David Benioff from his own highly acclaimed novel, is perhaps Lee's most accessible film to date, and it boasts some remarkable performances. Edward Norton is perfectly cast (and quite believable) as Monty Brogan, an upscale New York drug dealer to whom we are introduced just one day before he's to begin a seven-year sentence in an upstate prison. Within 24 hours he has to say goodbye to the people he cares about most: his Puerto Rican girlfriend (Rosario Dawson), his tavern-owning dad (Brian Cox), and his childhood best friends (Philip Seymour Hoffman and Barry Pepper). Lee's peripatetic camera follows Monty throughout his last day of freedom, during which time he ponders the significance of his ill-advised actions and reevaluates the choices he's made. Like most of the director's films, 25th Hour is a quintessential New York story, and Lee's fascination with -- and affection for -- his hometown is apparent in every scene, including several that refer to the events of September 11, 2001. But at bottom this movie is a character study, and without Norton's incisive interpretation of Monty Brogan the film wouldn't be nearly as successful. Norton succeeds in making his street-smart drug dealer a sympathetic character, and we predict you'll remember the bitter rant Monty delivers on the eve of his incarceration. Hoffman makes the most of a muted character, and Pepper really scores as Monty's smug stockbroker friend, who exhibits little sympathy for the convicted dealer but loyally sees him off. Dawson, heretofore underutilized in such mainstream fodder as Josie and the Pussycats and The Adventures of Pluto Nash, delivers her best performance to date as the girlfriend, Naturelle, and Cox has a fine supporting turn as the father. Lee's direction is virtually unerring; he perfectly captures the essence of every scene, and for once he seamlessly integrates photography, editing, production design, and music. Poignant and plaintive, 25th Hour ranks at the top of Lee's oeuvre. Ed Hulse, Barnes & Noble
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