(In theaters, October 2008) In theory, it’s entirely possible to mix genre fiction with serious drama. The problem is that such a hybridization can’t be handled lightly, and requires a deft touch to keep everyone happy: The pacing of genre fiction can often be inconsistent with the demands of dramatic depth, and a cross-over can fumble both. This is pretty much what happens here, as the filmmakers try to deliver a drama that cuts deep into the ties of a family of policemen and the larger NYPD around them: The balance between the inner lives of the characters and the police investigation that the perform isn’t satisfying, and feels either dull or rushed. Despite capable performances from the cast (including Ed Norton and Collin Farrell), Pride And Glory doesn’t have the heft or the nimbleness that a genre cop drama should have. It can’t even conclude properly, with a fistfight climax followed by cheap street justice. Most of all, there little moment-to-moment interest as the film moves from one scene to another. Character tangents are taken but not resolved, (such as when a journalist becomes a viewpoint character,) reinforcing the impression of a slap-dashed script shot too quickly. There have been more satisfying films about cop families recently, including We Own The Night, and this one won’t have any staying power.