Monty's mind is very concentrated. There is a sense, in Spike Lee's "25th Hour" (2002), that he's experiencing his last day of freedom in a heightened state. Everything is more focused, more meaningful, sometimes dreamy. He has his ideas about how he got here and who may have been involved, but there is little he can do about that now. From the choices still open to him, he focuses now on the remaining important things: His woman, his father, his friends, and unsettled business.

Naturelle (Rosario Dawson) is on hold; supportive, loving, but feeling shut out. Jacob and Frank (Philip Seymour Hoffman and Barry Pepper) are very sympathetic, but after all they are still free to live their lives. His father (Brian Cox) bitterly blames himself for drinking his way into such debt that he took "loans" from his son. Barry (Edward Norton) is intelligent. He sees his mistakes clearly. It was a mistake to get into drug dealing when he had the chance. It was a mistake to stay in it as long as he did. It was a mistake to think he could hide a lot of cash and cocaine, and a mistake to let anyone know where it was hidden.

This is another of Norton's exceptional performances. As usual, he doesn't act out a lot. He implodes. He keeps his own counsel. He is a realist, even in these drifting final hours. He thinks he knows who he can still trust, but what does he really know, and what can he really do?

Spike Lee, working with David Benioff's adaptation of his own novel, paints a portrait of a life in 24 hours. From a morning walk with his dog to a long drive the next morning with his father, Monty makes one last trip around the bases. He convinces Jacob to take care of the dog. He makes love with Naturelle but later seems distant to her. He goes to a nightclub with Jacob and Frank, and she joins them later. He does some final business and settles a last score.

The wonder of the rich screenplay is that it contains all of this material about Monty, and yet informs us so fully about the others. There could be a separate movie about Jacob, a pudgy and phlegmatic high school English teacher who is fascinated by a tattoo on the bare midriff of one of his students, and by the girl Mary (Anna Paquin) who wears it. But any move in that direction would be wrong, and he knows it.

Mary is charged with her own emerging sexuality, and boldly flirts with him. Through chance they find themselves in the same club. He's had a martini and champagne and can't drink, and there's a moment when the two of them are alone that is one of the most perfect and complex that Lee has ever filmed. Frank, on the other hand, is a seasoned and careless ladies' man. His apartment literally overlooks the wreckage of 9/11, but he won't move because he can't get the right price. Thus 9/11 becomes an unspoken undercurrent in this 2002 film.