The Son of No One (2011)

The best part of the movie is the cast: both adults and children are great , although it seems to me Channing Tatum has had better roles than this. I liked most Al Pacino as Detective Stanford and Jake Cherry as young Jonathan "Milk" White, but the others were also equal to their task.

Directing and especially plot leave a lot to be desired. Background obsessing/pestering is always there, but some turns are strange and illogical. The solution scene is good (although nothing special), but the very ending is rather disappointing. When the credits appeared I just realized that I had seen another oppressive movie with the aim to let the viewers ponder upon guilt, forgiveness, remorse and other differently perceived feelings.

Fmovies: 'THE SON OF NO ONE': Two and a Half Stars (Out of Five)

I was severely let down by 'THE SON OF NO ONE'! I'm a fan of the filmmaker Dito Montiel, who wrote and directed the film, and I like most of the cast. Montiel also helmed two other urban dramas 2006's 'A GUIDE TO RECOGNIZING YOUR SAINTS' (which was pretty good) and 2009's 'FIGHTING' (which I absolutely loved). Those films both starred Channing Tatum, like this one does, so Tatum appears to be Montiel's go to guy. 'SAINTS' also starred Shia LaBeouf and Robert Downey Jr. though (who made the movie) and 'FIGHTING' also starred Terrence Howard (who turned in my favorite performance of that year!). This one co-stars Al Pacino, Ray Liotta, Katie Holmes, Juliette Binoche and Tracy Morgan. With all that talent and what Montiel has already delivered us I expected a lot more from this film. Instead we get a routine cop movie with weak pacing and an unsatisfactory ending. The cast is still good but there was potential for so much more!

Tatum plays Jonathan White, a young police officer with a wife, Kerry (Holmes) and sick daughter, Charlie (Ursula Parker). Early on in the film he's assigned to a precinct in Queens where he grew up. He and his fellow officers also start receiving mysterious letters from an anonymous writer bringing up a cold case from 1986 which accuses a police officer of covering two murders up. Jonathan is troubled by these letters as they remind him of haunting memories from his past and may jeopardize his future. He tries to figure out who's sending the letters as we see the horrors he and another childhood friend experienced at the time through flashbacks.

The movie is nicely stylized and appears to be moving, suspenseful and mysterious but it never quite makes any sense. Like I said the acting is all decent, especially the young boy who plays Jonathan as a kid (Jake Cherry). I like Tatum, I don't think he's a great actor but he can be likable in the right role. Here he's decent, well cast and does the best he can but has nothing really to work with. Pacino and the others are all as good as they can possibly be as well. The blame lies solely with Montiel for the movie's failures, mainly just his weak script. A few more rewrites really could have worked wonders for this movie and next time these talented actors shouldn't sign on so quickly. Hopefully Montiel will learn from his mistakes and be back to what he does best with his next film.

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The Son of No One attempts to be a slow burn, cop-on-the-edge crime drama, with Al Pacino and Ray Liotta, who are both grizzled veterans of these kinds of stories. Now that Pacino and Liotta are getting too old to play the starring role, they're recast as supporting actors; instead, Channing Tatum stars. I haven't seen him in anything else, but I can't really say that he impressed me. However, I think his lack of emotional affect could be interpreted as his character bottling up all his emotions, which is admittedly a very charitable view. If this movie had been made 20 years ago (or, hell, even ten years ago), Liotta would have been awesome in this role.

If you're a Liotta or Pacino fan, you should probably be aware that their parts in this movie are comparatively small, though they are important characters and show up every so often. Neither is given a whole lot to work with, despite the importance of their roles, but they put in respectable performances. I think I'd like either of them in anything (I even sat through 88 Minutes, which is widely reviled by even the most ardent Pacino fans), but there isn't really a whole lot for them to do in this movie. Given that their roles had limited characterization and less screen time than their star power might lead you to believe, it's probably best to say that they did a good job with what they had to work with and leave it at that.

I'm a real sucker for cop dramas, crime dramas, and cop-on-the-edge thrillers, as any of my friends can tell you. I'll sit through even the most derivative, generic movie ever made, as long as there's a cop on the edge. In fact, it's probably because of people like me that these derivative movies keep being made. Sorry about that. In any event, the basic story is initially split between 1986 and the aftermath of the 9/11 terrorist attack in NYC. I was initially confused by the constant back-and-forth between the two time periods, but, luckily, the story settles down into a more linear storyline. I'm all for non-linear stories, such as Pulp Fiction and Memento, but those movies had excellent scripts and directors. Like many movies that attempt to randomly insert flashbacks into the main narrative, I found these scenes to be jarring and not entirely necessary. As is also often the case, the flashbacks serve as a form of filler, padding out the run-time, as the main character remembers various events from his past. That's all very interesting, and I'm grateful for the characterization, but it's also somewhat annoying to have the main plot grind to a halt while someone's past is explored. I'm more concerned with who someone is, rather than who someone was.

Back in 1986, we eventually learn that the main character has a dark secret (oooh, mysterious) that's threatening to destroy not only his own life and career but also that of many other people. How the various characters respond to this situation drives the plot, ranging from moral outrage to fear, guilt, and violence. Each of the characters maintains a degree of sympathy, though your philosophical or political leanings may cause you to label some of them as unreasonable, naive, pathetic, hypocritical, and/or self-righteous. Some of them could even be interpreted as sociopaths, though, again, I think that depends on your POV. I liked this aspect of the story, and I found it intriguing enough to stick with movie, even though it's a bit slow paced. Unfortunately, the final reveal of the story (which had been hint

The Son of No One fmovies. A young cop (Channing Tatum) is assigned to a precinct in the working class neighborhood where he grew up, and an old secret threatens to destroy his life and his family.

The basic story here is pretty good, and with Al Pacino and Ray Liotta on board, it should be hard to fail. But this film just comes up short. It has a few too many flashbacks, too many clichés about corrupt cops. And it makes a much bigger deal out of a situation than need be. It conflates the word "murder".

Maybe a fine-tuning of the script would have made this film a winner. And probably casting anyone else in the world besides Katie Holmes would have helped.

THE SON OF NO ONE implodes under its own weight. It is another variation of the tired good cop/bad cop theme and the sins of childhood theme. Despite the presence of a heady cast of high profile actors this story just never takes off. Perhaps that is partially due to the fact that the lead actor role is given to Channing Tatum who though he does show some gradual improvement in learning his acting skills remains a one dimensional character on the screen.

To keep it short, the plot can be condensed as follows: rookie cop Jonathan 'Milk' White (Channing Tatum) is assigned to the 118 Precinct in the same district where he grew up. The Precinct Captain (Ray Liotta) starts receiving anonymous letters about two unsolved murders that happened many years ago in the housing projects when Jonathan was just a kid. A reporter (Juliette Binouce) sees the letters as evidence for an inside cover-up of the two murders from Jonathan's childhood and a detective (Al Pacino) leads the 'investigation' with the corroborated intent of cover-up of police action. There are scenes of flashback to when the murders occurred and the perpetrator is indeed Jonathan as a kid (Jake Cherry) whose only friend is young Vinnie (Brian Gilbert) - the victims were abusive junkies but Jonathan has never been able to forget the gruesome facts. We jump back and forth in time: Jonathan is happily married to Kerry (Katie Holmes) and they have a loving daughter with petit mal seizure disorder. As the investigation proceeds Jonathan fears for his family's safety and for the safety of his old friend Vinnie (now Tracy Morgan). The ending is predictable and far too prolonged.

Despite the presence of Binoche, Pacino, Liotta and Holmes (and a group of very talented youngsters who play the leads as children) the story is just too drawn out and predictable and filled with violence to make it work. Dito Montiel wrote and directed.

Grady Harp

All I can say is, what a waste of good talent. The pacing is brutally slow.

The actors are good, but the script is... uh lackluster, to be charitable. Juliette Binoche is horribly miscast, however, and the lighting make her and Katie Holmes look ghoulish.

Ray Liotta looks swollen, pockmarked and perpetually astonished.

The best acting is delivered by two eleven year olds, which doesn't say much for the rest of the cast. More entertaining than watching paint dry, albeit marginally.

You want a great cop action thriller?

Try Training Day.