Never Die Alone is a 2004 American crime thriller film directed by Ernest Dickerson and written by James Gibson, based on the 1974 novel of the same name by Donald Goines.

Never Die Alone had its world premiere at the Sundance Film Festival on January 19, 2004, and was released in the United States on March 26, 2004, by Fox Searchlight Pictures.

The film received generally negative reviews from critics who panned the trashy, pretentious and misogynistic viewpoint of street culture.

Just before Mike can be killed himself, he gains gravity of the situation and guns down the henchmen but is unable to retain his sister's life as she dies in his arms.

Meanwhile, Paul continues to listen to the tapes; after he abandons Janet, David moves on to Juanita, a college student he meets in an upscale bar.

Enraged, David decides to do the same thing he did to Edna: mix her heroin with car battery acid, resulting in both dying in fatal seizures.

As the police converge on the scene, the two make good their escape as Paul flees on foot and Michael takes David's car.

The website's critical consensus reads: "DMX's menacing charisma is put to good use in this stylish but hackneyed modern-day noir.

Ted Fry of The Seattle Times was put off by the film's "despicable characterizations and hatefully misogynistic point of view" and also criticized "the excessive melodrama, lousy dialogue, clumsy acting, and generally nasty vibe," concluding that: "Dickerson does his talent a disservice by reaching for an operatic tone that's not supported by the material or his resources.

"[4] Elizabeth Weitzman of the New York Daily News wrote: "Racist, misogynistic and breathtakingly cynical, [Ernest] Dickerson's clichéd crime drama Never Die Alone shamelessly exploits the degradation of its irredeemable characters.

"[5] Marc Savlov of The Austin Chronicle called it "a misogynistic, dull-witted bore," criticizing Dickerson for using "every known hip-hop hoodlum cliché" throughout the film and also having "plain bad acting, camerawork (courtesy of Matthew Libatique, who keeps the grainy, dark feel of a poorly lit Super-8 running throughout), and even scoring."

Most notably, movie critic Roger Ebert awarded the film three-and-a-half stars out of four, praising it as "an ambitious, introspective movie" that has "many characters [are] all drawn with care and dimension", calling it Dickerson's "best work to date, with the complexity of serious fiction and the nerve to start dark and stay dark, to follow the logic of its story right down to its inevitable end.

"[7] Elvis Mitchell, writing for The New York Times, praised Dickerson for adding "street-corner majesty" to his direction and Libatique's "furious, high-contrast diffusion" cinematography for "elevating the look from a mere reiteration of music video fare", calling it "a riveting genre film that neatly exhibits the director's growing assurance – Donald Goines would be proud.

[6] Ruthe Stein of the San Francisco Chronicle wrote that: "DMX has all the charisma you'd expect of a music star, and he uses it to portray King David as larger than life.