Reviews - Pride and Glory (2008)
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6.7

Based on 52 416 Ratings

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Pride and Glory (2008)

Country: USA, Germany

Genres: Crime, Drama, Thriller

Taglines: Truth. Honor. Loyalty. Family. What are you willing to sacrifice?

Director: Gavin O'Connor

Writers: Joe Carnahan, Gavin O'Connor, Greg O'Connor, Robert Hopes, ...

Stars: Colin Farrell, Edward Norton, Jon Voight, Noah Emmerich, ...

A family of police officers - patriarch, two sons, and a son-in-law - deals with corruption in a precinct in Washington Heights. Four officers die in an ambush at a drug dealer's apartment. It's brother Francis's precinct, so when the investigation led by brother Ray finds hints of police corruption, there's pressure to close ranks and save Frankie's career. Dad, a police brass, promises Ray that he and Frankie can clean things up, and Ray should focus on catching the drug dealer who killed the cops. Meanwhile, brother-in-law Jimmy, a hothead and an enforcer, is visited at home by a lowlife. Is Jimmy involved in the corruption? Where can this take the family?

88 | Michael Sragow

It overflows with a combustible blend of street sensitivity and testosterone.
Read More: Baltimore Sun

83 | Gregory Kirschling

Edward Norton is in top form as Ray, a burned-out detective whose investigation into the deaths of four cops leads him to suspect his brother-in-law, Officer Jimmy Egan (Colin Farrell, also terrific).
Read More: Entertainment Weekly

75 | Peter Travers

Its value is unquestionable as drama and moral provocation.
Read More: Rolling Stone

70 | Michael Rechtshaffen

The stark drama harkens back to Sidney Lumet classics like "Serpico" and "Prince of the City"-filmmaking that went after an unadorned, jagged realism, with acting to match.
Read More: The Hollywood Reporter

63 | James Berardinelli

The final 15 minutes are so awful that it's difficult to believe that the bulk of the film is actually decent.
Read More: ReelViews

63 | Karl Rozemeyer

If you enjoy a cop drama, regardless how packed with trite and worn plot points, Pride and Glory should do the trick.
Read More: Premiere

60 | Mary Elizabeth Williams

What makes the characters in Pride and Glory real -- and raises the movie above the standard corrupt-cop fare -- is their capacity to live and die in shades of gray.
Read More: Salon.com

58 | Peter Rainer

At times, Pride and Glory seems to be about a war between actors, not cops. Nobody comes off well.
Read More: Christian Science Monitor

50 | Todd McCarthy

Feels like a film that should have been made at least 25 years ago. Or made as a period piece. Heavy, doom-laden and, unfortunately, entirely predictable.
Read More: Variety

50 | Roger Ebert

It follows the well-worn pathways of countless police dramas before it.
Read More: Chicago Sun-Times

50 | Michael Phillips

Full of interesting little grace notes, and the cast is excellent, yet it grows more and more frustrating.
Read More: Chicago Tribune

50 | Steven Rea

Gritty, jumpy and rife with cliches.
Read More: Philadelphia Inquirer

50 | Sean Axmaker

You can feel the debt to Sidney Lumet's '70s studies in police corruption and cop brotherhood, but O'Connor never captures the edge of danger, anger and moral stands being ground up in compromise.
Read More: Seattle Post-Intelligencer

50 | A.O. Scott

Not especially good, but there is enough rough artistry in Mr. O’Connor’s direction to make you wish the film were better.
Read More: The New York Times

50 | Liam Lacey

A talented cast and moments of brutal violence can't dislodge a sense of ho-hum predictability in Pride and Glory.
Read More: The Globe and Mail (Toronto)

50 | Rene Rodriguez

It's lifted from pretty much every movie or TV show you've ever seen about police corruption, only not done as well.
Read More: Miami Herald

50 | Ty Burr

Everything in this good-cop/bad-cop action drama is shrouded in gray and attended by wailing. This isn't a feel-good genre, granted, but does it have to feel this bad?
Read More: Boston Globe

42 | M. E. Russell

A movie full of actors improvising their idea of how cops in a Scorsese flick would talk. It's a special sort of cartoonishness, a hard-to-pin-down brand of emotionally grandstanding fakeness you sometimes see in movies trying way too hard to be "gritty."
Read More: Portland Oregonian

40 | Marjorie Baumgarten

It's a good thing this movie has been sitting on the shelf for a year or more, because, apart from the difference in release dates, there's little to distinguish this new cop drama from last year's cop drama "We Own the Night."
Read More: Austin Chronicle

40 | Carina Chocano

The movie is as histrionic as it is ham-fisted, a bad combination that leads to scenes such as the one in which officers threaten to torture a baby to get their point across.
Read More: Los Angeles Times

40 | Joe Neumaier

Overshoots the mark by spinning its implausible, hyperviolent tale around too tight a family circle.
Read More: New York Daily News

40 | Rick Kisonak

There’s something fundamentally unconvincing and contrived about the story. Forget the fact that O’Connor hauls out every cliché in the bad cop handbook and the dialogue is more boilerplate than hard-boiled. The premise itself is just plain preposterous.
Read More: Film Threat

38 | Claudia Puig

It's déjà vu all over again. There isn't much more to say about "We Own the Night 2." Oops, make that Pride and Glory.
Read More: USA Today

38 | Kyle Smith

Edward Norton plays Ray, a (possibly) honest cop wearing an unexplained scar positioned just so on his cheek. It looks like it was bought in the markdown aisle of Halloween Mart on Nov. 1.
Read More: New York Post

38 | Cammila Albertson

Pride and Glory would be a pretty cool movie if it were made in 1982.
Read More: TV Guide Magazine

30 | Ann Hornaday

Pride and Glory would be risible if it weren't so reprehensible.
Read More: Washington Post

25 | Nathan Rabin

Norton is infamous for rewriting scripts and acting as a de facto director on his movies yet he seems lost and defeated here.
Read More: The A.V. Club

25 | Mick LaSalle

A single 125-minute monstrosity of a cop movie.
Read More: San Francisco Chronicle

20 | Robert Wilonsky

How ironic that a movie filled with police officers should end up feeling like a hostage situation.
Read More: Village Voice