"I'm gonna bring her home"

Rating: 8/10 (22 October 2007)

There is a certain grim ambiance that distinguishes Boston as a city. Within the last few years, Clint Eastwood and Martin Scorsese enjoyed high praise for their Boston based dramas. The city has a natural grit that lends itself perfectly to film. While "The Departed" utilized the city as merely a backdrop, "Mystic River" came to life exploring the tensions of the working class natives amidst the city streets and neighborhoods. Both these movies were released to mass critical and public praise, so it's no surprise that Boston native Ben Affleck would choose to make the city the subject of his directorial debut "Gone Baby Gone".
Based on a novel by "Mystic River" author Dennis Lehane, "Gone Baby Gone" is a fascinating crime drama. The film concerns the kidnapping of a 4 year old girl, and the investigation that follows by a private detective played by Casey Affleck. Assisting in the matter is a loose cannon detective (Ed Harris) and a no nonsense police chief (Morgan Freeman). With each clue and discovery, it becomes clearer that there is more to this kidnapping that meets the eye. Matters of right and wrong become blurred and, more importantly, choice and consequence.
Director Affleck deserves high praise for taking on a challenging subject and his display of excellent film-making skills. He handles the visual and stylistic aspects like a seasoned veteran, and demonstrates excellent storytelling intuitions. In particular, the city of Boston sizzles with life under his sharp eye. I would even go as far as saying that he outdoes Eastwood in terms of capturing the spirit and nature of the streets of Boston. The film opens with a breathtaking montage of city life, and often slows down to observe everyday people about their blue-collar lives. There are also a number of well crafted action sequences that are very effective and intense thanks to their grounded realism. The acting is capable all across the board, in particular, Ed Harris impresses with his intense and evocative performance. Also of interest is the first rate behind-the-scenes crew assisting Affleck. Oscar nominees John Toll and William Goldenberg provide wonderful lighting and cutting, while noteworthy composer Harry Gregson-Williams delivers a haunting score.
The film isn't without flaws, most notable being the plot suffers a few predictable twists and some uneven structure. I'm not one to dwell on this sort of thing. More important are the final shot and subsequent issues at hand. Affleck doesn't take the easy way out with his commentary. The film offers the kind of bold moral challenge that will surely divide audiences and make for great debate long after you leave the theatre.
3.5/4