Pride and Glory

Baltimore Sun Michael Sragow

It overflows with a combustible blend of street sensitivity and testosterone.

Entertainment Weekly 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).

Rolling Stone Peter Travers

Its value is unquestionable as drama and moral provocation.

The Hollywood Reporter 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.

ReelViews James Berardinelli

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

Premiere Karl Rozemeyer

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

Salon.com 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.

Christian Science Monitor Peter Rainer

At times, Pride and Glory seems to be about a war between actors, not cops. Nobody comes off well.

The Globe and Mail (Toronto) Liam Lacey

A talented cast and moments of brutal violence can't dislodge a sense of ho-hum predictability in Pride and Glory.

Boston Globe 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?

Miami Herald 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.

Variety 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.

Chicago Tribune Michael Phillips

Full of interesting little grace notes, and the cast is excellent, yet it grows more and more frustrating.

Philadelphia Inquirer Steven Rea

Gritty, jumpy and rife with cliches.

Seattle Post-Intelligencer 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.

Chicago Sun-Times Roger Ebert

It follows the well-worn pathways of countless police dramas before it.

The New York Times 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.

Portland Oregonian 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."

Los Angeles Times 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.

New York Daily News Joe Neumaier

Overshoots the mark by spinning its implausible, hyperviolent tale around too tight a family circle.

Austin Chronicle 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."

Film Threat 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.

TV Guide Cammila Albertson

Pride and Glory would be a pretty cool movie if it were made in 1982.

New York Post 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.

USA Today 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.

Washington Post Ann Hornaday

Pride and Glory would be risible if it weren't so reprehensible.

The Onion (A.V. Club) 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.

San Francisco Chronicle Mick LaSalle

A single 125-minute monstrosity of a cop movie.

Village Voice Robert Wilonsky

How ironic that a movie filled with police officers should end up feeling like a hostage situation.