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Glenn Lovell, San Jose Mercury News: It's a long, complex, deeply flawed work -- and also quite possibly Lee's most ambitious and accusatory movie since Do the Right Thing in 1989. Read more
Wesley Morris, Boston Globe: The film doesn't reach a climax per se. But it's not conventionally inert, either. Read more
Terry Lawson, Detroit Free Press: If there was ever a filmmaker in need of someone who could tell him where and when to stop, what to leave in and what to take out, it would be Spike Lee. Read more
Rene Rodriguez, Miami Herald: The movie hums with a vibrant energy, which is powered by the terrific ensemble cast and the glowing cinematography by Rodrigo Prieto. Read more
Richard Roeper, Ebert & Roeper: As strong as the supporting cast is, Edward Norton really carries this film to a special status with his riveting performance. Read more
Michael Wilmington, Chicago Tribune: A superb film. Read more
A.O. Scott, New York Times: If 25th Hour does not quite work as a plausible and coherent story, it produces a wrenching, dazzling succession of moods. Read more
Eleanor Ringel Gillespie, Atlanta Journal-Constitution: Flawed but formidable. Read more
Manohla Dargis, Los Angeles Times: There are two films at war in director Spike Lee's newest feature 25th Hour, one uninteresting, the other an epic of near-tragic miscalculation. Read more
Jonathan Rosenbaum, Chicago Reader: Lee and his cast are so adept at getting us acquainted with Monty and these other people that we wind up feeling like we've known them for years. Read more
Eric Harrison, Houston Chronicle: Well-acted but badly miscalculated. Read more
Owen Gleiberman, Entertainment Weekly: Lee, as he did in Malcolm X and Clockers, makes his hero's dread palpable, and though 25th Hour lacks the glittering brilliance of those films, I was held by the toughness and pity of Lee's gaze. Read more
Rick Groen, Globe and Mail: 25th Hour should have stopped at 24. Read more
Chris Vognar, Dallas Morning News: [Lee's] movies still have plenty on their mind. And they're not afraid to talk about it. Read more
Ernest Hardy, L.A. Weekly: In making The 25th Hour, Spike Lee brought all his trademark hard sell but none of his passion or purpose. Read more
Andrew Sarris, New York Observer: I still think that Mr. Lee has come closer than he ever has before to making the great film about New York City that David Thomson hoped from him in a favorable mini-bio in The New Biographical Dictionary of Film. Read more
James Berardinelli, ReelViews: Not a happy experience, and there are times when it seems to drag, but there's no denying that it lingers in the mind long after the impressions left by other movies have evaporated. Read more
Roger Ebert, Chicago Sun-Times: The film is unusual for not having a plot or a payoff. Read more
Jeff Stark, Salon.com: A clumsy, oh-well story about the moral quandary of a drug-dealing recidivist who more or less deserves to go to jail. Read more
Mick LaSalle, San Francisco Chronicle: The first great 21st century movie about a 21st century subject. Read more
David Edelstein, Slate: At its best, 25th Hour is a melancholy tone poem, deeply affecting in its mute apprehension of loss. Read more
Peter Howell, Toronto Star: 25th Hour has a lot of problems, but chief amongst them is the persistent feeling that Lee is just treading water, by trading on past glories and larding in celebrity appearances in the hope of actually selling a few tickets for a change. Read more
Richard Corliss, TIME Magazine: Pretty lethargic stuff. Read more
Time Out: While 25th Hour has a several arresting characters struggling with credible problems, regrettably Monty isn't one of them. Read more
Mike Clark, USA Today: The latest movie to prove that, for all his talent and ability to attract excellent actors, director Spike Lee has to quit overstuffing his narratives. Read more
David Rooney, Variety: Character-driven pic provides strong opportunities for a fine ensemble of actors and for Lee, maintaining his signature style, to depart from his regular ethnic territory ... and to deliver one of his more interesting recent films. Read more
J. Hoberman, Village Voice: Held together in the vise of a powerful script. Read more
Ann Hornaday, Washington Post: Lee has created that rarity in filmmaking: a movie we need, right now. Read more