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Actor/writer/director Ben Affleck tries his hand at a period piece in this ambitious crime saga beginning in the 1920s Prohibition era. Joe Coughlin--the son of a renowned Boston police officer--is a small-time crook looking to make a name for himself in the ruthless underworld of organized crime. After some tragic circumstances, he relocates to the South to become the frontman/muscle for an Italian mafia bootlegging operation, but quickly gets plunged into the seedy, seductive world of money, power, greed, and corruption. Intriguing at first, with tense action scenes and character interactions, but follows too many unrelated story threads, has ineffective casting in key roles, too many familiar elements, and concludes in pat, sanctimonious fashion. Despite flavorful ingredients, Affleck's attempt to create a potent, moralizing amalgam of The Town and The Godfather doesn't quite succeed. **½

Ben Affleck's new movie could best be described as "sprawling". In both directing and writing the screenplay (based on a novel by Dennis Lehane), Affleck has aimed for a "Godfather" style gangster epic and missed: not missed by a country mile, but missed nonetheless.

Morally bankrupted by his experiences in the trenches, Joe Coughlin (Affleck) returns to Boston to pick and choose which social rules he wants to follow. Not sociopathic per se, as he has a strong personal code of conduct, but Coughlin turns to robbery walking a delicate path between the warring mob factions of the Irish community, led by Albert White (the excellent Robert Glenister from TV's "Hustle"), and the Italian community, led by Maso Pescatore (Remo Girone). Trying to keep him out of jail is his father ("Harry Potter"'s Brendan Gleeson) who – usefully – is the Deputy Police Chief. Life gets complicated when he falls in love with White's moll, Emma Gould (Sienna Miller). The scene is set for a drama stretching from Boston to the hot and steamy Everglades over a period of the next twenty years.

Although a watchable popcorn film, the choppy episodic nature of the movie is hugely frustrating, with no compelling story arc to glue all of the disparate parts together. The (often very violent) action scenes are very well done and exciting but as a viewer you don't feel invested in a 'journey' from the beginning of the film to the (unsatisfactory) ending. In my experience it's never a good sign when the writer considers it necessary to add a voice-over to the soundtrack, and here Affleck mutters truisms about his thoughts and motives that irritate more than illuminate.

The sheer volume of players in the piece (there are about three film's worth in here) and the resulting minimal screen time given to each allows no time for character development. Unfortunately the result is that you really care very little about whether people live or die and big plot developments land as rather an "oh" than an "OH!".

Affleck puts in a great turn as the autistic central character whose condition results in a cold, calculating demeanor and a complete lack of emotion reflecting on his face. Oh, hang on… no, wait a minute… sorry… I've got the wrong film…. I'm thinking about "The Accountant". I don't know whether he filmed these films in parallel. I generally enjoy Ben Affleck's work (he was excellent in "The Town") but for 95% of this film his part could have been completed by a burly extra with an Affleck mask on. In terms of acting range, his facial muscles barely get to a "2" on the scale. Given the double problem that he is barely credible as the "young man" returning mentally wounded from the trenches, then in my opinion he would have been better to have focused on the writing and directing and found a lead of the likes of an Andrew Garfield to fill Coughlin's shoes.

That's not to say there is not some good acting present in their all but brief supporting roles. Elle Fanning ("Trumbo", "Maleficent") in particular shines as the Southern belle Loretta Figgis: a religious zealot driving her police chief father (Chris Cooper, "The Bourne Identity") to distraction. Cooper also delivers a star turn as the moral but pragmatic law-man.

Sienna Miller ("Foxcatcher") delivers a passable Cork accent and does her best to develop some believable chemistry with the rock-like Affleck. Zoe Saldana ("Star Trek") is equally effective as a Cuban humanitarian.

In summary, it's sprawlingly watchable… but overall a disappointment, with Affleck over-reaching. One day we surely will get a gangster film the likes of another "Godfather", "Goodfellas" or "Untouchables". Although this has its moments, unfortunately it's more towards the "Public Enemies" end of the genre spectrum.

(For the graphical version of this review please visit bob-the-movie-man.com. Thanks.)

Had he not taken the lead role, perhaps this would have truly worked, but the strengths of the film outweigh the weaknesses, As a Boston boy, Affleck is always believable, as a gangster, I'm not so sure. In a world full of Marvel movies it isn't really a surprise that the initial audience gave it a thumbs down. I am pretty sure that in the long run its reputation will improve.

"Maybe it's true. We all find ourselves in lives we didn't expect. But what I learned was powerful men don't have to be cruel."Joe Coughlin (Ben Affleck)

Yet in the best of gangster, powerful men like Michael Corleone and Henry Hill are cruel, no matter how gentle their exteriors. So it seems with Joe Coughlin, a prohibition "bandit," as he calls himself, who doesn't think of himself as a gangster ("I don't wanna be a gangster. Stopped kissing rings a long time ago."). Yet he kills or has others killed in the name of moving toward heaven.

Although beautifully appointed and set in Florida and Cuba, writer/director Affleck's crime story misses the weight of crime films, which casually juxtapose the serious with the not so. It lacks the sass of Pulp Fiction and the gravitas of The Godfather with not much of their verbal gymnastics or irony.

Joe wanting to be a saint while being a sinner requires an actor of considerable resources, which Affleck showed a modicum of recently in the Accountant because it required him to be affectless. He brings that same stolid mien to this film and endangers the edge necessary for the success of actors like Al Pacino. Like Affleck, the film is listless except when Tommy Guns take charge.

As Joe navigates from a low-rent lover, Emma (Sienna Miller), to a classy love, Graciella (Zoe Saldana), director Affleck spends too much time on their embraces and too little on what makes him love them so passionately. He does love his own image as his abundance of self close-ups testifies. Maybe there is no passion, just old affectless Affleck.

It's dumping time in Hollywood, and Live by the Night is a classic example of why smart studios dump dull movies in January. It's not all that bad the way Joe is not all that bad. However, it just doesn't have the firepower to go against the big guns in the Oscar race. Remember the wild surprises and rich characters of the long-form Sopranos?

Maybe that's why the film gangster genre feels troubled here: The arch enemy, TV!

Gangster movies have been a major component to American cinema for quite some time. With established films like The Godfather series, Scarface, among other films, sometimes it can be hard to produce a quality modern day crime film. But Ben Affleck has made an attempt this weekend with the movie Live by Night. Can Affleck's recent resurgence revitalize the gang movie, or does his operation go belly up before it gets started? Robbie K here with another review and as always appreciate the read.

LIKES: • Solid acting • Incredible Setting and Costumes • Very Detailed Description of a mob rising

Summary: Affleck's stoic, monotone, performances continue to find footholds in a variety of parts, and his portrayal of a gangster with a conscience is spot on. Although not the most emotionally dynamic character, Affleck's tactics work in portraying a man struggling with the trials at hand. Chris Messina as his sidekick has more of an edge that helps offset the monotone delivery of the lead role. Other actors do their job of crafting the seedy mob family, being cunning, ruthless, or strong to accomplish their goals. If the acting doesn't sell the gangster setting than the costumes and scenery will do the trick. Live by Night uses the big budget of the film industry to recreate the roaring 20s, complete with old fashioned zoot suits, classic car models, and the nostalgic traditional models of high-end restaurants. I felt I had traveled back in time in this flick, with only the high definition cameras and a recognition of modern day fabric to shatter the illusion. Finally, the other component that sells the crime theme is the attention to detail of starting a crime syndicate. Most other crime movies often have our character in an established family, but Live By Night twists this concept and casts Affleck into raising a satellite family in Florida. Much of the film is focuses on how he establishes business contracts, allies, love, occasionally throwing in some conflict resolution that brings a little excitement to the film.

DISLIKES: • Slow pace • Awkward Summaries • Boring At times • Rushed over ending

Summary: Although some of my favorite mafia movies don't have action, they at least have an engaging plot that is suspenseful. Not the case for this movie. Live by Night is slow, often paying a little too much attention to monotonous details for building the empire. The film tried to build the suspense with their overdone explanations that promised some heart crushing moments... only to wrap things up with a monologue from Affleck describing what happened. These mundane, overlapping comments did little for me other than decrease the run time of the movie and I was disappointed at the lack of effort for drama. The result for me was a very boring film not only in terms of action, but in emotional suspense as well. If you look at the classics, the storytellers built up tension that climaxed at those gut-wrenching moments as a character was killed. However in this film, they seldom came close to matching that suspense, the only exception being two moments near the end of the film. And speaking of the ending… it felt out of place for me. Live By nights "exciting" climax has a heated battle that fits well into the theme of the movie, but finally relieves the boring moments. Had they ended with the monologue after that it would have been perfect. Yet, the movie didn't stop and added an extra twenty minutes that summed things up, but in a manner that to me was very simplistic, rushed, and lackluster.

The VERDICT:

Live by Night is a gangster movie that felt more like a video guide to starting a bootlegging operation. It certainly has the look and feel of a gangster movie, complete with family drama, but it lacks that edge the mobster classics had. Outside of a few moments, this movie was a little toned down for my tastes, and I didn't like the monologue summaries as they robbed us of some exciting conclusions. Therefore, this reviewer can't recommend this movie for the theater outside of the look of the movie.

My scores are:

Crime Drama: 6.5 Movie Overall: 5.0