A surprisingly engrossing directorial debut for Affleck...

Rating: 8/10 (25 December 2007)

Shaun Munro's Film Reviews (www.shaunmunro.co.uk):
English readers may recognise Gone Baby Gone only through the controversy surrounding its release in the United Kingdom, whereby, due to the recent disappearance of four year old Madeleine McCann, the film's release has been delayed until April of next year. Life's ability to imitate art aside, Gone Baby Gone, based on Dennis Lehane's novel of the same name, is a gritty, competently acted, and surprisingly well-directed effort from Ben Affleck. Not only does the film present an intriguing, winding plot, but it also asks the viewer several questions, and the moral dilemma of the film's climax is a painful, disturbing one which will keep audiences arguing for years to come.
Affleck serves well to throw the viewer headlong into the kidnapping story from the outset, introducing us to private investigator Patrick Kenzie (Casey Affleck), who is hired by the aunt of the missing young girl. Kenzie's girlfriend, Angie (Michelle Monaghan), is also his investigative partner, and works as a means of opposition to his steely determination to discover the whereabouts of young Amanda. Angie claims that she doesn't wish to find the remains of a child, whether they be dead or alive, if the results may be overly harrowing (such as the child having been heavily abused)  such a view is an interesting one that less daring films would ostensibly choose to omit. However, it must be said that Monaghan's character is the film's weak link, and appears to largely be superfluous  she does little to drive the narrative, and other than one particularly daring moment, she seems to work as a device for Kenzie to bounce dialogue off of, a sidekick of sorts.
Above most all else, Gone Baby Gone is a film comprised of magnificent acting talent, and truer in no great instances than those of Morgan Freeman and Ed Harris. Freeman portrays Captain Jack Doyle, an officer with a chip on his shoulder, and his involvement in the plot's resolution is greater than most would expect at the outset. Freeman assumes one of the more intriguing characters in the film, although no-one is as thoroughly interesting as the super-charged Detective Remy Bressant (Ed Harris). With his facial hair, Harris' look is a departure from the ordinary, yet it provides Harris with the "badass" look that the part so very much requires. Much like Doyle, he is wary of the baby-faced Affleck, yet in contrast, he is far more acerbic, and far less calm.
The novel aspect of the film lies within the fact that Kenzie, as not only a PI, but as someone who grew up in the underbelly of Boston, is privy to information, and to contacts that the police are not  he is able to penetrate the hidey-holes of Boston, something which "stuffed shirts" cannot. In many investigative dramas, such attributes would appear clichéd or tired, yet due to Kenzie not being a cop, this concept remains fresh and not insulting to the viewer.
The manner in which the facts of the case unravel occurs surprisingly quickly  various discoveries and interrogations lead to a very promising prospect less than half-way through the film, yet the tension and mystery are nevertheless relentless in their intensity. As Kenzie and the police are faced with more and more convincing leads, and as each one is debunked, it only seeks to both fluster and intrigue the characters, as well as the viewer even more.
By the half-way mark, things are looking very bleak indeed for young Amanda, and it is impressive that the film burns so quickly, given the tendency for procedural criminal investigation pictures to keep the viewer in the dark until the film's final moments. Affleck's various monologues bridge the gap between the segmented narrative, which dilutes the passage of time more than you may expect, and more unexpected (yet very welcome) narrative intrusions allay any restlessness the audience may otherwise feel, in keeping them fed with information, whilst still managing to maintain a level of genuine intrigue.
Whilst Gone Baby Gone's main attraction is the painful moral crux that plagues Kenzie in the film's latter moments, it is not just a film of morality, but of religion, and conflicting ideologies in general. In one show-stealing scene between Harris and Affleck, these beliefs clash  Bressant's ideals may not be orthodox, yet he is driven, clear in his ideas, and he garners results. Kenzie, however, is ambivalent in regard to the lengths people should go to in order to protect children, and this ill will is worsened by his Christian upbringing. It makes for fascinating wordplay, particularly in regard to Harris' Oscar-worthy "You've gotta take a side" speech.
The picture's end serves up genuine surprises, and whilst it essentially becomes cat and mouse fare, it is very engaging, masterfully constructed cat and mouse fare. The "big twist" isn't initially convincing, although the explanation and accompanying moral dilemma are utterly compelling. With everyone, including his girlfriend, against him, and warning him of the potential dangers of his actions, Kenzie must make a decision. He stands to lose a lot, and to damage many people (including himself) with what is the "right" choice (at least legally). The turn is one of genuine surprise, and by the film's end, it elicits a disturbing, yet incredibly vital social commentary on how we raise our children.
Ben Affleck has turned many heads with his directorial debut  it is doubtful that many expected his first venture behind the camera to succeed to this high a degree, yet with such an impressive level of acting talent on board (no moreso than the brilliant Ed Harris), it would have been difficult for Affleck to fail. Gone Baby Gone is little in way of inventive film-making, but it is an impressive effort from all involved, and it raises a number of valid moral and ethical questions.