Review

The Devil’s Own is a tense political thriller that explores loyalty, identity, and moral conflict against the backdrop of the Northern Ireland Troubles. The film centers on Rory Devaney (Brad Pitt), a young Irishman living in New York under an assumed name, and Tom O’Meara (Harrison Ford), a dedicated Irish-American police officer who unknowingly offers him shelter.

What makes the film compelling is the ideological collision between its two leads. Pitt portrays Rory with quiet intensity and internal conflict, balancing youthful idealism with hardened resolve. Ford delivers a grounded, emotionally restrained performance as a family man whose sense of duty is gradually tested as the truth emerges. Their evolving relationship—built on trust, hospitality, and shared heritage—adds emotional weight to the political tension.

Director Alan J. Pakula maintains a somber, deliberate tone, focusing more on character psychology than explosive action. The film examines the consequences of violence and the cost of political extremism, avoiding easy answers or simple hero-villain dynamics. The New York setting provides an effective contrast between domestic normalcy and the shadow of international conflict.

However, The Devil’s Own is not without flaws. Its pacing can feel uneven, and the political context is sometimes simplified, leaving certain motivations underexplored. Still, the performances and central moral dilemma carry the film through its weaker moments.

Highlights

Strong, restrained performances from Harrison Ford and Brad Pitt

Thoughtful exploration of identity, loyalty, and political violence

Tense, character-driven storytelling

Somber tone and grounded realism

Emotional conflict rooted in personal relationships

Final Verdict

7.2/10

The Devil’s Own is a solid, introspective political thriller that prioritizes moral complexity over spectacle. While it doesn’t fully capitalize on its ambitious themes, it remains a compelling watch thanks to its lead performances and serious tone.

“When belief becomes absolute, humanity is often the first casualty.”