Set against the backdrop of 1950s New York, “Motherless Brooklyn” follows Lionel Essrog (Norton), a lonely private detective afflicted with Tourette’s Syndrome, as he ventures to solve his friend’s murder. Armed only with a few clues and the powerful engine of his obsessive mind, Lionel unravels closely-guarded secrets that hold the fate of the whole city in the balance.

Also Known As: Тъмната страна на Бруклин, Сирота Бруклiн, Сиротский Бруклин, Motherless Brooklyn, Huérfanos de Brooklyn, Brooklyn Affairs, Brooklyn: Sem Pai Nem Mãe, Os Órfãos de Brooklyn, Árva Brooklyn, Osierocony Brooklyn, Motherless Brooklyn - I segreti di una città

Leave a Reply


  • viewer

    Can you please put more movies up on this site. 1000 plus pages would be nice. There are competing sites that have 20million plus movies to watch on them.

    • gary-m
      Gary m

      Cannot get movies to load.

  • joann-wilson
    joann wilson

    Seen at the Viennale 2019: I have seen John Cusack in Identity (2003) the day before. Somehow the spirit of Motherless Brooklyn is similar. And so I and my partner mistook Norton for Cusack up to the middle of this movie (we have seen this one as surprise movie – which is always fun at the Viennale). The movie itself is very well done. Nothing to critisize. Norton plays fanastic. Baldwin, too. But the story is very conventional. It is not like Birdman (same actors). Good entertainment. But that is already all of it. Would I go to see it in a regular cinema program? I am not sure…

  • dustin-cook
    dustin cook

    MOTHERLESS BROOKLYN nicely integrate the PI film noir and political exposé genres. The exposé side addresses the Infamous abuses of power of 1950s and 1960s NYC panning commissioner Robert Moses (famously detailed in Robert Caro’s THE POWER BROKER). The film noir side employs the variant of the noir genre in which he PI uncovers and attacks elite political or economic corruption (See Hammett’s RED HARVEST, Huston’s CHINATOWN). This is all done clearly, forcefully and thrillingly for viewer for whom this mix is congenial. On the scale between 10 for Huston’s CHINATOWN — the film to which MOTHERLESS is often said to aspire– and for CHINATOWN’s sequel, the rather flat TWO JAKES — a natural contrast with CHINATOWN — MOTHERLESS is an enthralling and instructive 8. Great production values, music, performances, script and direction – at least for those to whom a film noir like political exposé of substance and contemporary relevance without big explosions has appeal.

  • bruno-paiva
    bruno paiva

    I found this film satisfying overall, but one anachronism distracted me and pulled me out of the 1950s setting. Lionel’s symptoms of Tourette’s syndrome, repetitive verbalizations of a rhyming nature, were accepted equanimously by everyone he encountered. No one displayed annoyance, made fun of him, or called him insulting names to cast aspersions about his intelligence. His repetitive touching of people on the shoulder as he faced them ought to have caused women to back away and men to knock his block off. They did neither. It was as if these 1950s characters had been taught the acceptance of people with disabilities that was not really commonplace until the 21st century. This is the biggest mystery in the movie.

  • eero-sirvio
    eero sirvio

    From the onset of the prized Motherless Brooklyn adaptation, I realized this film was intellectually casted, and so carefully and intricately crafted, by giving a beyond-the-surface treatment to the characterizations presenting juxtapositions to one another.This is a rarely seen approach to a film’s tableau including outstanding performances by an array of praise-worthy actors including Ed Norton, Gugu Mbatha-Raw, Cherry Jones, Bruce Willis, Willem Dafoe, Michael Kenneth Williams (the Trumpet Man), Dallas Roberts and Alec Baldwin to name just a few… the wildly talented Ed Norton, who delivered a gritty, suspenseful noir, a well-developed character portrayal, a thoughtful, deliberatively-paced adapted tough topic screen-play.The film put to rest the common belief system that racial tensions are inherently about personal disgust or a perception of un-relatable, cultural differences, but instead it depicts that racism emanates possibly from fear of limitations and personal preferences and/or the protection of the traditional power dynamic.Norton was also able to cleverly execute a literary device, to quickly contrast the difficulty and constant un-predictability of being unfortunately plagued by Tourette’s Syndrome, to the unpredictable and unexpected struggle and consequence of being an African American in today’s society. This creative tool was used in the story to effectively shred the notion of an expected complex racial relation to instead deliver a gift of closeness, an understanding that we all share common humanity.Phenomenal Jazz Music was compellingly performed in Motherless Brooklyn to also melt away our differences, enrich and facilitate social diversity in the movie and fuse audiences.Anchored to the film, is Norton’s breath-of-fresh-air comfortability, showing that the source of our quiet, personal strength (in one’s soul) perhaps originates from nurturing, loving women spanning one’s life, symbolizing that the natural patriarchy is perhaps female not male.This picture was a nice duration to enjoy on a leisurely day at the theater. I really enjoyed it.

  • dominik-fracz
    dominik fracz

    If you couldn’t keep up with Chinatown’s and LA Confidential’s plot and continuous placing and connecting of characters’ names associated with civic and political corruption then Motherless Brooklyn will have you drowning in it.That’s why I give it a seven rating. It’s almost 2 1/2 hours of figuring out what’s going on and who’s doing it, but at least the look and sound of the movie provides a huge respite with the best sounding Bee Bop jazz and lush background theme soundtrack I’ve ever heard in a movie.As a photographer I thought the cinematography was stunning in color and composition, less film noir and more ’50’s style New York street Kodachrome photography with compositions of odd reflections and angles interspersed smoothly with the flow of the narrative master shots in a style similar to Winogrand and Vivian Maier.The variety of vintage ’50’s automobiles in pristine and brand new condition with the rich look of Kodachrome color is another treat. The sound of the rattle of car doors slamming is even accurate.

  • robin-snyder
    robin snyder

    I went into this not expecting much but Edward Norton gave till it hurt. Overall, this was a great movie with some amazing performances by Norton and his fantastic ensemble cast. So well acted by such fine actors. It’s a very good murder mystery. That classic gum shoe style was done perfectly. I love the art direction. He painted a great picture of 50s style New York. And the music was stellar. Those jazz numbers really blended in perfectly with the atmosphere. Then I had that one piece of music made by Thom Yorke of Radiohead (you’ll know it once you hear). This was a really great movie.

  • larionov-andron-anisimovich
    larionov andron anisimovich

    Motherless BrooklynEdward Norton, the second time director’s definitely-a-first official writing credit, is everything. Has everything. From a commercial look in its bigger picture to an art-sy rhythm in details. You’d think that a script with these qualities will be balanced. And instead if anything it is immensely unsettling. The film tries to be everything and gets only few handful of things right and it had small hands and loose grip. This was the actual “big reveal” it was going for. And when it finally discloses the curtains, you are disappointed. I mean they did work hard and had an incredible cast to put up a dazzling show.The film also gives room for the performers and the audience to chew in the material properly. In order to do so the film celebrates, flaunts, milks on probably wrong moments that might be correctly motivated but is amateurishly staged to ever connect with the audience. It explains things more than it should. So it could be smart but it also often suggests that we, the audience are slow along with the characters floating around, swinging a bat that is nowhere near in contact with the ball.It has a background score that doesn’t ring a bell and editing that misleads its audience. I can point out ten moments easily where they should have placed and moved the camera differently or would have chosen the other angle shot in post production. The actor-turned-filmmaker has got the former job to the point. We are following him in every frame and never, not even for a second, he, Norton, manipulates us into empathy, with his complex situation in this hefty case. Motherless Brooklyn’s cast is cradled carefully, Norton cares the most in the film, it’s just that no one looks out for him as he looks out for everyone else.

  • sig-ra-santo-pagano
    sig ra santo pagano

    This movie failed to get me interested. I fell asleep halfway and I’m glad I did, It was not worth my time

  • tetiana-romanchuk
    tetiana romanchuk

    I love Ed Norton as an actor but I would suggest he never direct again. This movie is way too long and too predictable and the camera angles are trying hard to be artsy but fail.

  • olavi-kauppila
    olavi kauppila

    This film has everything , fantastic actors the best of the best,

  • mr-mohamed-kennedy
    mr mohamed kennedy

    The esthetics and styling of this movie were great, that’s what the 2 stars are for. The movie was painfully boring with hardly any story line and 2hours 35 mins long that felt like 4 hours. Ed Norton directed , wrote the screenplay and acted. Sorry Ed you are not that talented. I really got tired of looking at his face in every scene, and his mediocre acting in this movie. Don’t forget to take your pillow if by any chance you want to go to see this movie, you may catch a good snooze.

  • mar-de-luna
    mar de luna

    I saw a pre-screening last night. I felt it was a very complicated movie that if you didn’t pay real close attention to you had no idea what was going on. After the movie was over there were groups of people in the hallway all explaining it to each other what was going on in the movie. Some in our group got it but some did not. All in all I would not see It again.

  • joan-sole-roman
    joan sole roman

    While this postmodern film noir goes to great lengths to set up and execute a somewhat over complicated mystery plot it really is not so hard to foresee most of the twists and turns. As if this film had been made before, minus a tourette ridden protagonist.The murders make little sense if you think about it – but then again the art direction is beautifully photographed and its fun to see Norton and an entourage of a few more movie stars appearing together one one film.I wish I would have liked it more and I wonder why it did not grab me. Maybe the term “postmodern film noir” is not the right way to describe it. Maybe they tried too hard to get there – somehow it did not pass the benchmark. Instead it sometimes felt like a few episodes of an online streaming series that hold your attention just enough to not walk out.This movie might have worked better if I had not seen Chinatown, a true classic and a somewhat similar mystery on many levels, in terms of story, music and acting.

  • agnes-gerlach
    agnes gerlach

    This movie was great, well acted. Keeps you drawn in the whole time. Long but we enjoyed every minute.

  • victor-wright
    victor wright

    Motherless Brooklyn (opens Friday Nov 1) My friend won advance screening tickets tonight for Motherless Brooklyn, which turned out to be a rather deluxe affair with wine and food served beforehand in the “VIP” cinema area of a cinema in Vancouver, Canada.We needn’t have worried that all these emoluments were buttering us up for a bad movie-it’s a really good one and likely to get Oscar nominations for Edward Norton, who not only stars as Lionel but also directs and co-wrote the screen adaptation from a novel. When I was grasping for the real world connection I thought I saw in this feature drama, my husband prompted me the sociopathic mogul, Moses Randolph, depicted by Alec Baldwin in the film is only a thinly papered over Robert Moses. That smasher of neighbourhoods in the name of grand schemes had a leading role in the 2016 documentary Citizen Jane: Battle for the City, about Jane Jacobs and her fight for the soul of New York City. (That soul, I’m hearing, has suffered some blows of late.)This 1950s period film has an instant classic feel to it. It has enough Hollywood dynamics and star power in it to pull in a larger audience but there’s some very nice cinematography and lots of social relevance, both in the good old USA and in satellite nations like good old Canada, where I live, with regard to present-day politics and power-wielding at various levels by wealthy people. This is particularly the case when it comes to who runs city hall and gets to force out large numbers of people from the communities where they belong.The city where I live has an ongoing struggle for which Motherless Brooklyn has relevant things to say. Even as I travelled to the cinema in question, I was distracted by the ugliness of the rapid-transit corridor it sits on which has been heavily redeveloped since the line went in for the 2010 Winter Olympics. The construction cranes are still plentiful, the featureless higher density buildings lining the route have an oppressive, mountain-view blocking dominance. Robert Moses/Moses Randolph or whoever wears their snappy shoes would love it.Almost the only thing I was indifferent to in the film was the “brain thing” affliction of Norton’s character, which seemed like some kind of cross between Tourette Syndrome, Obsessive Compulsive Disorder, and a revisiting of Dustin Hoffman’s Rainman character, at times. The syndrome had relevance to the story, though, and there were some nicer moments in how it was depicted.In addition to Ed Norton’s strong performance and Willem Defoe’s decent contribution, I enjoyed seeing Michael Kenneth Williams as a mellow jazz musician (I always think of him as Omar in The Wire.) Alec Baldwin was convincingly evil, though I think some real life power mongers prettify their harsh decisions, to themselves and others.

  • edgaras-povilonis
    edgaras povilonis

    Edward Norton as Lionel Essrog was amazing, his Direction was just as great! One of the best films I’ve seen all year. I am a sucker for good film noir movies, Edward Norton, and a great cast. This movie had all of that. I was never board, In fact I had a fantastic time with my Dad and we both enjoyed it and I would definitely pre-order this for DVD, maybe even Blu-Ray; but first I’ll have to buy a Blu-Ray player for that!

  • minas-gabrielyan
    minas gabrielyan

    Somewhere between the noir and French film categories Motherless Brooklyn exists, and I truly enjoyed watching it. Norton gave a very interesting preformance in this film and if nothing else it’s a great character study based on the choices he decided to go with to portray his character. The long scenic film backed by the low calming jazz music creates such a cool setting for the film and makes it so easy to get lost in the world that has been created by the film. It’s understandable that this story might not appeal to everyone but I enjoyed it immensely.

  • mark-beck
    mark beck

    Motherless Brooklyn is a modern film Noir about a troubled man seeking answers, exploring new worlds within familiar ones, and going toe-to-toe with violent thugs and oppressive tyrants, in the heart of New York during its blossoming years. It also just may be Edward Norton’s “Sling Blade.”Some of its most noticeable achievements, are the visual and audial elements. With the gloomy, yet bustling sets, and the somber, thoughtful soundtrack, the effective lighting and mood of each shot, it’s a brilliant homage to the classic Noir style. It’s not even just a throwback, but could eventually be considered a monumental addition to the genre.And the acting. Expect nothing less from such a stellar, experienced, well thought out cast. Edward Norton nailed it especially, and shines a humorous, yet wondrous and even educational light on Tourette’s syndrome. Excellent performances by all.Story-wise, it’s nothing groundbreaking. But it’s certainly engaging. One can tell it’s no cookie-cutter script, a lot of heart went into it. Sure some may find it boring, slow, presumptuous even. Others will find it exhilarating, and refreshing. Hopefully most will find the passion, love, message, and humor in it, and also discover that it could be that movie which so many people have been wishing Hollywood would make, instead of those dry, cash-cow blockbusters that stain the very heart and art of filmmaking itself. While also being unique in its own way, it’s also familiar, without being too familiar if you know what I mean.I wish Bruce Willis was in it more, and there are some plot holes and mildly annoying coincidences, cliches, etc. These are few and far in between. While it can be difficult to follow at times, it’s still quite a fantastic movie.Those who would enjoy this movie, probably also enjoyed other titles like Chinatown, L.A. Confidential, Road to Perdition, The Sting, Double Indemnity. See it in theaters, you’ll find yourself driving down Nostalgia lane in a vintage 1950’s Chevy.

  • dr-jordan-smith
    dr jordan smith

    Really good story fantastic performance by bruce Willis and the rest of the cast it’s a must watch

  • linda-schneider
    linda schneider

    #MotherlessBrooklyn has the authenticity of a period piece like Road to Perdition combined with the corruption & intrigue of The Departed. Writer/director/actor Edward Norton paid homage to the classics in this movie. Featuring an All-Star cast, there was no way he could lose with the characters’ performances. I think that is the one drawback of the film, with such a stellar cast he had to give everyone time and the movie boasts a runtime of 2:24 minutes. A bit lengthy for a crime drama/who done it because there will be slower portions of the film. However, it was never boring and the dialogue is spot-on with the snappiness of Sin City but it doesn’t come across as a caricature. A very entertaining film and please don’t be emo like me and cry after the opening scene.

  • baadaamii-iish
    baadaamii iish

    Watched it in October at the VIFF in Vancouver. Lots of big names and respected actors. Edward Norton, Bruce Willis, Alec Baldwin, Willem Dafoe etc.It’s a historical drama. Set in 1950s New York, the protagonist (Norton) works for a P.I. (Willis). After Frank Minna is killed, Lioniel sets about unraveling the reason.Set against a backdrop of corruption at city hall, the film touches the right buttons. Ugly real estate developers and the need for justice. Friendship and loyalty. A protagonist with a handicap who has courage.The problem is that the film does not cover new ground.It is a carefully crafted film. The veteran actors all do a good job, but I was turned off by the the theatrical dramatics. Too loud.IMO, the film will appeal to film buffs and fans of Norton. The general public may not be equally enthusiastic or even patience. It is a long film for a gumshoe genre.

  • hanne-holm
    hanne holm

    Ed Norton does an amazing performance. Alec Baldwin was terrific!

  • tenis-lacis
    tenis lacis

    In his second directorial effort, Edward Norton has cast himself as the “motherless” Lionel, a smart-as-a-whip film-noir “gumshoe” with a photographic memory who suffers from Tourette’s. No surprise: He’s excellent in a difficult role, having carefully studied the ticks and other idiosyncrasies Tourette’s causes. Indeed, almost the whole cast is terrific, filled with great character actors — Willem Dafoe, Michael K. Williams, Robert Wisdom, Cherry Jones, Bobby Cannavale, Leslie Mann. Bruce Willis has a great role as Lionel’s friend and mentor. And with many street scenes, Brooklyn ably stars as itself.Norton spent years working on this film, keeping intact his own character and the gang of detectives led by Willis. But Norton changed almost everything else, setting the film in the late ’50s, and focusing it on a character based on NYC power broker extraordinary Robert Moses. It’s perfect film noir fodder: power and corruption, progress vs. community, race and a bit of sex, all with a jazz score in the background.The characters are great, and for the most part, the plot works well. The tight first hour devolves into a more muddled and “fat” second half that could have been cut by 10-15 minutes. And Alec Baldwin as the “bad guy” might have worked better if I hadn’t had his SNL Trump riffs in my head. But good character development and a great film-noir “look” makes this film worth seeing.

  • valerie-davies
    valerie davies

    Edward Norton, by most film fans, has been and will always be known as one of the best actors out there. Appearing in classics like Fight Club and more modern masterpieces like Birdman, he’s never been one to pick a bad project on purpose. Motherless Brooklyn marks his latest leading role, while also directing and writing. As ambitious and difficult as that is, he has pulled it off quite well. Motherless Brooklyn is a very well-made period piece.Set in the 1950s, this film follows Lionel(Edward Norton) after the murder of his closest friend and colleague. Hellbent on discovering who the killer is, he finds himself on a paper trail across Brooklyn, never giving up on his plan. Being someone who also happens to suffer from Tourette Syndrome, he is a character that has a lot of depth to get behind. Personally, this particular character needed a great performance in order to be authentic, which is where this film shines the most.It’s been a while since I’ve seen Edward Norton this committed to delivering a powerful performance. There are hardly any instances where he feels like he doesn’t actually suffer from this condition. His devotion is what kept me engaged because the overall story does slightly meander at times. At nearly two and a half hours, this film can feel its length at times, but that’s simply due to the fact that this movie cares about its characters and spends a lot of time on long conversations, some of which do lead to revelations though.Based on a book, this screenplay here definitely feels inspired and the voiceover work by Norton calms the viewers throughout, making for a sort of relaxing experience. In addition to that, the use of classical and jazz music is so much in the forefront that it nearly became a character of its own in the film. I really admired that aspect. Still, the overall movie doesn’t leave too much for the audience to figure out, since the narration does lend a hand.In the end, Motherless Brooklyn is a really, really solid crime mystery that has the perfect setting and feel for this sort of premise. I found myself completely engrossed in this world and was eager to see where the movie ended up. Edward Norton gives an award-worthy performance and his direction only adds to that, making for a great overall movie. Motherless Brooklyn may be meant for a more mature audience as it is quite niche in terms of the nature of the story, which may lend itself better to an older crowd. Even so, I quite enjoyed myself.

  • ing-esparta-esquibel
    ing esparta esquibel

    The movie recreated the 1950s NY in an amazing way. Great cast who portrayed their roles with authenticity. It had a nice leisurely pace but held on to the suspense till the end. Saw during the NYFF premier … it was a great choice to end the 2019 festival. Would recommend the movie for anyone who can appreciate good meaningful cinema.Motherless Brooklyn is the kind of movie Hollywood almost never makes anymore, and a complexly conceived, robust evocation of a bygone era of New York that speaks to our present moment.