The Closer: Season 3
We Own the Night
Music By: Various Artists
Musical Score By: Wojciech Kilar
Distributed by: Lakeshore Records
Reviewed by Melissa Minners
Bobby Green and his brother Joseph Grusinsky are as different as night and day. Joseph (Mark Wahlberg) has followed in the footsteps of their father and joined the New York Police Department. Bobby (Joaquin Pheonix), however, has changed his last name to Green in an effort to disassociate from the long line of distinguished police officers in his family. Bobby is the manager of El Caribe, a popular Russian-owned night club located in Brighton Beach, Brooklyn. He spends every night partying with his girlfriend (Eva Mendes) at the club, enjoying the money and popularity being the manager of a popular night club brings him.
Unfortunately, the party is about to end as the increase in New York’s drug trade in the year 1988 takes its toll on El Caribe. Bobby’s brother Joe is about to lead a new narcotics unit and their main target is a gangster who has been seen making drug deals in Bobby’s club. At first, Bobby refuses to help Joe and their Deputy Chief father (Robert Duvall), but when the gangster begins to target his family, Bobby realizes that it is time to make a sacrifice for his family…one with dangerous and possibly deadly consequences.
The We Own the Night Soundtrack contains a mix of music recorded by various artists and original score composed by Wojciech Kilar. The first half of the soundtrack transports you back to the ‘80’s with hits like Heart of Glass and Rapture by Blondie and Let’s Dance by David Bowie. There are a couple of fun oldies like A Little Bit of Soap by The Jarmels and Should I by Louis Prima. Though I enjoyed all of the music in this half of the soundtrack, it was the Latin music by artists such as Tito Puente,Descarga Total and Coati Mundi that added a dance element and an exciting bit of exotic flare that had me up and dancing.
The second half of the soundtrack contains music by Polish composer Wojciech Kilar, known for his compositions in films such as Bram Stoker’s Dracula, City of Angels, The Ninth Gate and The Pianist. Surprisingly, these tracks – twelve in all – are entirely forgettable. They consist of repetitive themes and dark, depressing tones. I would have been entirely happy with the first twelve tracks of fun music, although I suppose that Kilar’s composition does reflect the dark undertones of the film.
Despite the lack of enthusiasm for the musical score of this film, I found the We Own the Night Soundtrack to be an enjoyable experience and would recommend it to just about any fan of music. The soundtrack offers something for everyone’s taste in music.