Pride and Glory (2008)

O Masterpiece
O Excellent
X Good
O OK
O Mediocrity
O Avoid

Review by Jason Pyles / January 13, 2009

Evidently the cop movie genre is endlessly fascinating, which is not to say that all cop movies are individually interesting, but collectively they have intrigued the movie-going public for decades. Interestingly, similar to those “Othello” game chips which are white on one side — black on the other, police films are also simultaneously criminal films. So what is it about this genre that we find so captivating? The cops, or the robbers? Through which group are we vicariously living?

Well, more often than not, it’s not black and white, like Othello. We have myriad films about corrupt cops, and a few with antihero criminals. Usually movies have a good dose of villainy on both sides of the jail cell. “Pride and Glory” poses this kind of uneasy predicament, a shameful “Serpico” (1973) scenario, where the good guy has to deal with bad guys on the streets, as well as in his department.

Yes, “Pride and Glory” has its treachery, and it’s an unpleasantly gritty affair. There’s a particularly awful scene in this movie where some dude’s baby is used for leverage, to make him talk. And though I’m sure “no babies were harmed in the making of this film,” had it gone on five seconds longer, (I’d like to think) I would have left the theater. No doubt much of today’s desensitized audience wouldn’t flinch, but I can’t remember another film that pushes that same dismal circumstance to such limits.

I should admit that my relatively newfound fatherhood (one year today!) has made me a little soft, but I couldn’t help but think the filmmakers should be ashamed of themselves for this appalling scene. Then again, using precariously placed babies to harrow viewers is nothing new to the cinema: Even the infamous Odessa steps sequence in Eisenstein’s “Battleship Potemkin” — from 1925! — employs a pitifully helpless infant in a doomed baby carriage.

As for the story, I’m reluctant to describe much because of its intended secrets. Essentially, there’s a father (Jon Voight) and his two sons (Edward Norton and Colin Farrell) who are all veterans of the NYPD in Brooklyn. When four officers get killed in the line of duty, the family becomes closely entangled in the investigation.

Edward Norton is a fine actor; "Primal Fear" (1996) establishes that fact. And we saw in "The Italian Job" (2003) that Norton can pull off “downright despicable” easily enough. He even handles himself well in "The Incredible Hulk" (2008), which would have been surprisingly tricky to negotiate. Think about it: If somebody makes you angry enough, you turn into a monster … that gig is a red-carpet invitation, beggin' for you to over-act. See Ben Stiller in “Mystery Men” (1999).

In spite of his proven abilities, Norton's tough-as-nails cop persona doesn't sell me. In one scene Norton’s character chases down (and roughs-up) an informant — who's obviously afraid of him — and it just doesn't work. I don’t believe it.

Otherwise, “Pride and Glory” is a pretty good (albeit violent) movie. And though it’s awfully reminiscent of the previous year’s “We Own the Night,” and about a million other cop movies, “Pride and Glory” is a satisfying fix for the hero — or villain — in you.

Directed by Gavin O’Connor
Edward Norton / Colin Farrell / Jon Voight
Crime 130 min.
MPAA: R (for strong violence, pervasive language and brief drug content)

U.S. Release Date: October 24, 2008
Copyright 2008: 320