Critic Reviews



Based on 33 critic reviews provided by
It's awfully difficult at this point in film history to come up with a car chase that's startlingly new, but Gray pulls it off. It's the best of its kind since "The French Connection."
Village Voice
The closest thing Gray's done to a commercial actioner, the film also applies his genius for tone (aided by superlative sound work) to set pieces that throb with trauma: a tinnitus-soundtracked shoot-out and a rain-slick car chase set to the tempo of windshield wipers.
Rolling Stone
We Own the Night is defiantly, refreshingly unhip.
With a cast like this, one has a right to expect something amazing, so the fact that We Own the Night is merely "entertaining" might cause disappointment in some quarters.
Gray knows how to sell the idea of unalterable destiny with a car chase: That’s the mark of a real action director.
Adequately acted and flecked with the required quota of action to satisfy genre fans, pic recalls numerous good police dramas of the 1970s, but mostly in superficial ways that bring nothing new to the table.
An intriguing blend of mainstream audience-pleaser and a more subtle, even intellectual agenda.
The story is too patterned and too contrived.
Gray’s writing lacks the punch and zing that might take your mind off such rickety plotting.
Gray's signature long takes and overhead shots are in evidence and add to the film's fatalistic tone, and one rainy car-chase sequence is a real keeper. But, overall, it's impossible to shake the film's gloomy sense of eternal repetition.

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