Edward norton colin farrell pelicula

Top credits Director Gavin O'Connor. See more at IMDbPro. Trailer Pride and Glory: Theatrical Trailer 1. Clip Pride And Glory. Interview Photos Top cast Edit. Noah Emmerich Francis Tierney, Jr. Jon Voight Francis Tierney, Sr. Carmen Ejogo Tasha as Tasha.

Gavin O'Connor. More like this. Watch options. Storyline Edit. 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? The last thing you want to uncover Rated R for strong violence, pervasive language and brief drug content.

Did you know Edit. Production was scheduled to begin in February After the September 11, attack on New York City and the celebrated heroics of the city's police, however, it was deemed inappropriate to make a film featuring corrupt NYPD officers at the time.

Goofs When the car is set on fire, the blaze is clearly started from underneath the car, not inside it where the gas was poured. Quotes Ray Tierney : Have a few nips this evening, pop? User reviews Review.

Top review. I haven't seen a lot of cop movies, so perhaps that's why I didn't find this picture "formulaic" as some have called it. I did find aspects of the film familiar, but for a different reason: I have been a resident of New York City for some time now; I have known law enforcement officers, and I think this was a realistic movie except for the large number of murders, but hey, it's a movie.

Many scenes of this film were quite reminiscent to me of stories I heard from a former corrupt cop I used to know. I appreciated the fact this film showed the characters as human beings with families.

I am tired of films that show both heroes and villains without back stories. A word of warning. Though there are no big shoot outs the violence can be rather intense and unexpected be prepared.

A sterling film both in front of and behind the camera, its a film I highly recommend. This ponderous, dark-blue, R-rated, police procedural potboiler had been collecting dust in New Line Cinema's vault for over a year. Alas, not a single character in this humorless, hackneyed homicide hokum is remotely sympathetic.

Two of the cop wives stand out, but they are confined largely to the periphery. Declan Quinn's vigorous,hand-held photography with a bluish tint lends spontaneity to this saga. A bungled drug bust lands four NYPD officers in the morgue and catches our quartet of police protagonists by surprise.

Sergeant Egan goes ballistic when he bursts onto the crime scene in shocked disbelief. Meanwhile, a solicitous Tierney Sr. Tierney Sr. Scared by a bullet on his left cheek, Ray has been away from his father and brother for three years.

Ray exiled himself to the Missing Persons Bureau after an arrest-gone-wrong led to the death of the suspect. Ray hates himself because he helped to cover up a crime.

Moreover, Ray's wife Tasha Carmen Ejogo of "The Avengers" plans to divorce him because she thought that he didn't do the right thing. Tierney Jr. This tedious tale about cops trying to protect their own as well as their families contains the same doom-laden aura of a tragic Eugene O'Neill play. Prodigal son that he is, Ray bows to his father's wishes. During his investigation, Ray finds a witness who identifies one of the gunmen as a policeman.

Ray confides in Tierney Jr. Egan's men has gone rogue and have been selling their shields to the highest bidder and trafficking in narcotics. Meantime, Ray lucks up and discovers a cell phone at the crime scene.

More smart detective work on his part yields the location of the infamous drug dealer Angel Tezo Ramon Rodriguez of "Carlito's Way: Rise to Power" who was behind the drug deal. Unfortunately, when Ray comes through the door with his gun drawn to arrest Angel, he finds brother-in-law Jimmy and his crew have beaten him to the punch and have a surprise for him.

You'll see it once and know better than to see it twice. Some of the symbolism is painfully obvious. Since he has been separated from his wife, Ray lives on a boat that leaks. Ray's shattered world resembles his leaky boat. The O'Connors and Carnahan don't come up with new or interesting twists. O'Connor stages his gunfights so that you only catch a glimpse of the violence. The splash of red blood that follows lingers longer than the gunplay.

The lack of a resolution after an angry mob eliminates one character robs this yarn of its moral impact. We watch the protagonists show up for their day in court, but we are never told outcome! I'm sure you can tell by my opening statements where my sentiments lie with regards to the NYPD.

They have enough hero stories to last a lifetime; two movies that besmirch their hallowed name shouldn't upset too many. Let me throw a third in the mix while I'm at it: "21 Bridges. The 31st precinct created a special task force to track down the killer s. The 31st precinct had a family dynamic. Francis Tierney Sr. Jon Voight was the captain--or some such rank--of the precinct while his oldest son Francis, Jr. Francis, Sr. Pretty much browbeat Ray into being on the special task force, and Ray would end up being perfect for the job; he was good and he was honest.

In very short order Ray found out that there was a group of dirty cops in the 31st. We, as the viewers were already aware of the four-man crew being led by Jimmy Egan Colin Farrell , it was just a matter of what the task force or others would do once they found out.

I liked how intricate the movie was. It wasn't simply a group of rogue cops and a group of good cops, there were definitely levels and layers. The story played out very nicely, showing the incredible quagmire everyone was in because of the illegitimate actions of a few.

This movie was simply well done from the story to the acting. It was magnificent. Hubris and Failure JoeytheBrit 19 May OK, the summary title might be a little harsh, but I had reservations about this film simply because of its generic title. Doesn't exactly smack of imagination or thought, does it? Anyway, that doesn't mean a film is going to be bad and I was attracted by the decent cast so I decided to give it a go. The plot is fairly solid but, like We Own the Night to which this has been compared the dialogue is strictly second-rate.

You also know a writer doesn't subscribe or worse, has never heard of the 'show don't tell' theory of writing when the personalities of key characters are established by having a drunken patriarch describe them to us and the characters in question. As others have noted, the ending doesn't really stand up to close scrutiny, and while credit should be given to the director for making the showdown between Norton and Farrell's characters realistic, it also proves to be anti-climactic for just that reason.

Real fights consist of two red-faced, out-of-breath men wrestling frantically with each other as they roll around on the floor: it's boring to watch in real life, so why should it be any more interesting in a film? Pride and Glory will fill an empty couple of hours without boring you, but it doesn't really have much else going for it.

Gavin O'Connor's direction fails to propel the action in a credible manner, allowing incidental sidebars that add nothing except hole patching to the film. The story is so overused that a synopsis is unnecessary: an Irish family of cops stumbles along the way of law and order, falling into the business of stealing and murder to cover their misdeeds, until one of the brothers has the courage to 'go straight' to make amends for his own past infractions.

One of the early distractions in viewing this film about contemporary New York crime and law enforcement foibles is a soundtrack that buries the dialogue. It is doubtful that the viewer can even follow the story without the help of English subtitles to compensate for the inaudible spoken word, but then so often the script is so weak that perhaps this is not a flaw but a benefit. This is a film for those who deeply admire the work of the main actors, but brace yourselves for a film that in the end is simply annoying.

Grady Harp. I agree the movie has a Strong cast. The guy who played the CO I think was in the movie Miracle as the assistant coach. The story reminds my wife of Serpico is that the right spelling.

OK story but I hated the ending. The best scene is Colin Farrell with the Iron. The movie is executed correctly. Well acted, directed, and casted. Even the scumbags were authentic. The movie is too dark for my taste, but I guess we live in dark times. We gave this movie a 7 badges out of My wife gave this movie a 8 out of I wonder if a film like this could be made here at all. Not that you can't do it on the cheap, because it's literally sans explosions and action sequences that calls for things to be wrecked or shoot em ups in built up areas, and all you need are charismatic actors to bring the plot to live, but one with the story of having corrupt cops within the force?

And it's not just a make- believe force, but one that says NYPD on its sleeves. Yes, there are disclaimers put out immediately when the end credits roll that it's a work of fiction, and the movie originally planned on being made in , which for obvious reasons of not wanting to taint if for the lack of a better word the NYPD at the time of a heightened threat environment.

But I suppose our film industry probably is not mature enough, or if permission will be given if at all, for our own force to be used as a more realistic backdrop for a moral or there lackof story such as Pride and Glory. It's a cop drama about a family of cops who get embroiled in a scandal, and having their morality put to the sword.

But slowly Ray begins to discover a link back to his cop brother in law Jimmy Colin Farrell , and the rabbit hole goes down a lot further with possible involvement back to his own family, together with opening up a Pandora's Box that implicates almost everyone in the precinct.

Unfortunately this is not an investigative drama per se, because like Confession of Pain, it decides to show all its hand 30 minutes into the movie, and you'll know who are those responsible, together with who is indirectly guilty within the force. The only thing left is the extent of their involvement, but there becomes rather rudimentary. Everyone in the story have varying shades of grey, and nobody is squeaky clean, even for Ray as he demonstrates some unorthodox investigative techniques involving promises to his informants.

And most of the supporting cop characters do seem a little surreal when you observe how they can get away with the blatant corruption that they engage in. While it slowly builds upon the story despite its revelation midway, the finale becomes something of a letdown because of its convenient way of wrapping everything up, and gets marred by some out of place fisticuffs which seem to draw some laughter rather than its intended gentleman's way of getting things resolved sans weapons.

Also, there was a sub plot involving an investigative journalist which gets introduced in the third act, and then junked unceremoniously, rather than allowing this sub plot develop through.

Pride and Glory boasts a stellar cast with powerful performances, from Jon Voight's dad who wants Ray to cover up as much as he can so as to protect his eldest son and not let their family legacy get tainted by a scandal which they can spin it to their advantage. I thought Noah Emmerich is slowly becoming quite a strong character actor, despite his rather low key presence and screen time in the movie.

Edward Norton is typical in his flawless delivery, this time wearing a physical scar to represent an emotional wound which his character carries, a reminder of how he's now faced with the same unfair odds of having to shoulder some blame and spin facts to everyone's advantage.

Colin Farrell though returns to his bad boy roots with some scenes that will enrage you toward his Jimmy character, where money talks and power rocks, and being the in-law, you'll feel his fear of being sidelined should the adage of blood running thicker than water come true.

I thought he stole some of the other actors' thunder each time he comes on screen to light it up with corrupt intensity, given that Norton's Ray does a disappearing act from time to time. It's standard fare, and without any element that will make you sit up and go wow. That doesn't mean that it's a bad film, but lacked that particular x-factor in making it memorable. It wanted to tread in the murky waters of the questioning of morals, but in the end doesn't address it head on and felt a bit of a let down.

Even the superb performances by the actors fail to lift this beyond mediocre, and I guess it's still the story that counts first. No respect jdesando 22 October You join the force because they let you carry a gun and a badge. You do it because you get respect. Having just seen their elderly counterparts, Robert De Niro and Al Pacino, in the almost as witless good-cop, bad-cop Righteous Kill, I am once again amazed at how star power can propel mediocrity from the drawing room to the screen.

Whew, I'm done with the lineage although it is, as my editor, Patricia, comments, the most interesting aspect of a film with unrelenting violence that could have been sacrificed to more family drama.

Greek tragedy it is not: This family has no tragic flaw other than simple-minded greed, no blind ambition other than messing with street low-lives. As a multi-generational saga, it is soap opera at best.

When straight arrow Ray faces family involvement in murder, the script is not Sophocles: Ray Tierney: What do you think is going to happen here? Do you think we're going to go in the basement with papa and smooth things over?

Jimmy Egan: All you've gotta do is say what needs to be said. End of story. It's prosaic stuff, heavy on patter and guns, light on reflection and insight. Plenty of time on pistol whipping and the ubiquitous "f" word.

In a family of four volatile cops, you'd think the drama would demand probing analysis beyond blaming Dad's zeal for the force and a legacy, neither explored satisfactorily.

I heard this film has been sitting on the shelf for a while and that Mark Wahlberg, Hugh Jackman, and Nick Nolte were scheduled to star as long ago as It shows. Edward Norton and Colin Ferrell, the automatic great duo, they make a perfect team for a movie like this. They're both great actors and will make any movie worth the watch. So my friends and I watched Pride and Glory a little over a week ago, I was hearing mixed reviews on it, but still, when you love these actors as much as I do, you have to see it.

So based on my honest opinion, this is a very good story, but the film just needed better editing, it was a little longer than it should have been. Also I didn't really like the ending, although I know they did it more for the cinematic reasons as people wanna see the bad guys pay for their crimes.

But Ed, Colin, and even John Voight make this film very watchable and click right on screen. We've seen a million crooked cop movies, I think we're still looking for one that really stands out, but Pride and Glory holds itself well and is watchable. Jimmy is a narc who does pretty much all the dirty work when it comes to busting in on drug dealers, hookers, murderers, rapists, etc.

One night though he among other cops receive a call that 4 policemen have been killed in a building with drug dealers. Jimmy is trying to figure out what went wrong only to find out that one of the drug dealers had an inside man who called in advance to warn them that the cops were coming.

But one of the policemen that he suspects is his brother in-law who does the best he can to justify all that he is doing. Pride and Glory is a very good story, I'd say though to wait for the rental, but I'm warning you there are some really intense scenes, Colin goes really far in one scene with a baby, I'm a person who has seen every disturbing film known to man, and this scene had my hands over my eyes. If you wanna see this film, you'll see what I'm talking about.

There are some shocking lines as well and hurtful, this was just an intense movie and is not for the weak hearted. It's like the more disturbing episode of The Shield in some ways. Ed and Colin work well together and are a great duo, Pride and Glory is a good movie, just needs a little more editing. Like watching a ballerina try to act tough tieman64 23 November This movie unleashes profanity like a freight train full of F bombs.

And when our cast aren't vomiting obscenities, they're delivering the most overcooked dialogue possible: "I was a good man once! Director Gavin O'Connor and actors Edward Norton and Colin Farrell strain mightily to convince us that this is a "gritty", "realistic" and "important" tale. It's not. Worth no viewings. FeastMode 26 June Good movie.

Honest cop Ray Tierney Edward Norton starts with the proper approach, getting a statement from an eye witness to what may have gone on in the shape of an innocent, unlying child who admits to having seen notorious drug dealer Angel Tezo Ramon Rodriguez fleeing from the scene in fear. With what happened starting to look fairly obvious, the hunt begins for Tezo.

Unfortunately, that includes less honest cops Jimmy Egan Colin Farrell , related to Ray through marriage, and his men whose corrupt activities have lead to the murders. It all builds up to a devastating battle between family and friends, loyalty and justice, truth and honour.

As any one who's glanced at the trivia section or Empire Magazine! Though a few have claimed the film has been done before which it surely has , it is still far more than a standard, straight-forward cop thriller, with an intelligent, twisty turny screenplay that keeps you hooked with it's developments and raw honesty. Despite this, the narrative flow fails to keep going as well as you'd like, and a fair few scenes gracelessly flow on from the last one rather than keeping you hooked for them.

But Norton and Farrell not only have good presence, they have good chemistry together and it's a shame they're scenes together are too few. Another down point is their climactic fisticuffs session, which feels corny and out of place amongst what has been a raw, unflinching, brutally and unsearingly honest cop film up till now, belonging more at the end of a Jet Li or Chuck Norris movie to be honest.

Still, this is a solid, well made cop thriller that was still quite worth the wait. Gavin O'Connor's 'Pride and Glory' is a well-made, dark, gritty, urban film that looks into corruption within the police force.

Given the title, I was under the impression that this would be just another typical police drama but 'Pride and Glory' is almost noncompromising in its depiction. O'Connor and has crew seem to have gone out of their way to achieve authenticity in their film and they have succeeded for the most parts.

The director's sincerity is also apparent as he steers clear from sentimentality. His style of execution cinematography, art direction, lighting and use of score is very detailed. In addition, he has extracted some fine performances from his principle cast that includes Jon Voight, Edward Norton, Noah Emmerich and especially Colin Farrell this is easily one of the best works of his career.

The women do not have much to do but Jennifer Ehle stands out. John Ortiz and Frank Grillo lend strong support. Of course 'Pride and Glory' is not without its share of drawbacks. It does risk being a little too Hollywood at times. For example, was it really necessary to have a boxing-wrestling bar-fight sequence near the end?

The story too at times loses focus as it occasionally slips towards unnecessary side stories. Yet, 'Pride and Glory' is still effective.