Review in a Hurry: Edward Norton and Colin Farrell are brothers in arms—or rather, armed—as New York cops embroiled in some bad business. A gritty aesthetic and clearheaded storytelling elevate this conventional plot into an engrossing drama.
The Bigger Picture: The poster for this movie says it all: the trite title, the graphic of two men back-to-back. One brother versus another! Good versus evil! Cops versus corruption!
Hey, if this obvious marketing is what brings butts to seats, fine. Because Pride and Glory is an excellent example of telling a timeworn story—brotherly betrayal, dirty cops, etcetera, etcetera—with economy, skill and craft.
Norton and Farrell are Ray and Jimmy, brothers-in-law serving as New York's finest along with their big bro Francis (Noah Emmerich). When four cops die in a shootout, one brother reestablishes his career as a detective, while the other one frantically tries to cover his tracks. The cat-and-mouse plot is gripping, unfolding like layers of an onion, refusing to pander with expository dialogue and taking advantage of the high tension of family dynamics.
The Shakespearean drama is tempered with director Gavin O'Connor's earthy approach. The movie looks like it was shot on film stock left over from the '70s, and he employs a handheld camera only when absolutely necessary to heighten drama. No gimmickry, no overly pretty cinematography—just storytelling, plain and simple.
The 180—a Second Opinion: At just over two hours, the general efficiency of O'Connor's pacing can't compensate for the downright exhausting onslaught of violence. It takes a lot of energy to stay with the film, and some judicious cutting could have eased the burden.