are our memories of Ben Affleck's dire reputation
DETAILS:
Released - 9 May 2008
Certificate - 15
Running Time - 109min
Director -Ben Affleck
Editing - William Goldenberg
Music - Harry Gregson-Williams
Theatrical distributor - Buena Vista
Theatrical distributor - Buena Vista
Country - USA
SYNOPSIS:
Patrick Kenzie (Casey Affleck) is a streetwise freelance private investigator who lives with his wife Angie Gennaro (Michelle Monaghan) in a less affluent area of Boston USA. One day Bea McCready (Amy Madigan) grandmother of a missing child asks for his services in the high profile case, which has been swept up by the media, due to his connections with the criminal underworld. Before long Kenzie unwittingly finds out who has captured the young four year old girl but an accident occurs during an exchange for money which leaves her dead. Months later when taking it upon himself to redeem himself with a similar case certain inaccuracies from his aide Det. Remy Bressant (Ed Harris) come to light which begin to unearth corruption possibly involving Capt. Jack Doyle (Morgan Freeman) of the police department.
REVIEW:
Utter the name Ben Affleck and you are more inclined to remember endless wooden performances and a high profile relationship with Jennifer Lopez. With this in mind it is easy to forget that he is in fact an Oscar winning writer for his co-written script with Matt Damon for Good Will Hunting. Whilst Damon’s career has soared he is often regarded as the more untalented half of the relationship. With Good Will Hunting seen as his fluke big-break into Hollywood Affleck has now finally bounced back and proved his talent behind the camera. His directional debut has a real sense of atmosphere and identity. The location of Boston is a part of the film. Boston itself is a character. His camera ignores the more famous landmarks and captures the graffiti which tells its own story. Affleck has captured the essence of his old stomping ground. His camera shots accentuate a way of life for him growing up, particularly in the opening few minutes. This is far more interesting than another high profile director per say, directing the same story but missing out on Boston’s integrity to the film. Aside from his identity Affleck also shows his talent for creating a sense of a haunting atmosphere. With such delicate subject matter, Affleck’s darkness has a subtlety that is not too gruesome. His contrast between light and dark especially in one scene where Casey runs out into the daylight after a robbery in a dark smoky bar is very iconic. Also his contrast between music and silence shows his ability to flit between scenes of panic and scenes of solitude.
His decision to cast his brother in the lead role rather than himself is admirable. Casey has a certain quality and subtlety which lacks in Ben’s overacting. Casey feels more down to earth, his broken voice portrays a character with human qualities such as imperfection and vulnerability. His heartfelt voice over during shots over Boston in the films opening minutes certainly catch your attention. He also carries a sense of mystery around his characters. All this makes his parts likeable opposed to his smug brother. His face makes him look a lot younger than thirty-one which gives him a feeling of innocence, but he is able to switch on intensity and threatening qualities. By the end of the film his face looks more troubled, aged and experienced than the fresh faced tracksuit wearing character that started the film. His streetwise adolescent maturity into a hardened cop is certainly believable. His Boston accent is also a lot more natural than the cast of the Departed. His supporting cast also do what they do best. Ed Harris once again is an old and intense hardened cop. Freeman’s stern upright police chief is a part he has been cast for more than just his dramatic voice, especially when he gets angry.
As the film develops into unknown territory it seems to remember that it is primarily a crime thriller and conforms back to certain plot conventions. However Gone Baby Gone manages to stay clear of the simplistic story of good detective capturing evil kiddy capturer with a few tricks along the way. Casey’s decision at the end makes us question our own morals and the overall conclusion is rather open ended. Gone baby Gone has more to it than Alex Cross’ adventures as far as a standard missing persons crime thriller goes.
TO SUM UP:
His decision to cast his brother in the lead role rather than himself is admirable. Casey has a certain quality and subtlety which lacks in Ben’s overacting. Casey feels more down to earth, his broken voice portrays a character with human qualities such as imperfection and vulnerability. His heartfelt voice over during shots over Boston in the films opening minutes certainly catch your attention. He also carries a sense of mystery around his characters. All this makes his parts likeable opposed to his smug brother. His face makes him look a lot younger than thirty-one which gives him a feeling of innocence, but he is able to switch on intensity and threatening qualities. By the end of the film his face looks more troubled, aged and experienced than the fresh faced tracksuit wearing character that started the film. His streetwise adolescent maturity into a hardened cop is certainly believable. His Boston accent is also a lot more natural than the cast of the Departed. His supporting cast also do what they do best. Ed Harris once again is an old and intense hardened cop. Freeman’s stern upright police chief is a part he has been cast for more than just his dramatic voice, especially when he gets angry.
As the film develops into unknown territory it seems to remember that it is primarily a crime thriller and conforms back to certain plot conventions. However Gone Baby Gone manages to stay clear of the simplistic story of good detective capturing evil kiddy capturer with a few tricks along the way. Casey’s decision at the end makes us question our own morals and the overall conclusion is rather open ended. Gone baby Gone has more to it than Alex Cross’ adventures as far as a standard missing persons crime thriller goes.
TO SUM UP:
Ben has the skill to direct Scorsese-esque identity and David Fincher type darkness but due to demands of conforming to the genre and Dennis Lehane’s novel he is unable to ultimately branch out into something different. However, there is definitely a future career for him in directing and his masterpiece will come, eventually.
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