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I've been a fan of Ben Affleck's directional efforts ever since I saw Gone Baby Gone way back in 2007 in theaters. I also loved The Town and think its his best film to date. Live by Night sort of came out of nowhere but I'm always down for Prohibition era crime films. The film seemed to get lukewarm reviews but there was no way I wasn't going to see this for myself. Overall, I'd say I enjoyed it and its better than what other critics are saying.

The film is set in Boston (and then Tampa) and is the story of the son of a police captain, who becomes a bootlegger and gangster. Be forewarned that there isn't much that separates this from gangster films we've seen before, however Affleck knows what he's doing and I think he does it well. The thing that pops out to me is the dialogue. Its quite clever and witty. There's funny moments and the film isn't always super serious, which is refreshing. Not everything in the script has to be explained as the viewers are expected to follow the message. The suits, cars, glamour, of the 20s and 30s is captured quite well (not that I lived in that era to really know if it was accurate). Some of the dialogue was hard to hear in theaters (the accents probably contributed to this). I think this film will one day warrant a second view anyways.

While I really enjoyed the film, it isn't without faults. It really depends on whether you can forgive the film for that or really see it as a detriment. Some of the characters felt loose and suddenly disappear. This includes Siena Miller, Elle Fanning and Brendan Gleeson. Fates of characters are explained and such but they feel unfulfilled. I thought Fanning's character was just becoming great, but as I said unfulfilled. Miller's character arc was just so odd as well (maybe rushed to fit the story). Well, at least my boy Miguel was in this. The film seems to want to tackle a few foes/events in different parts of the film and doesn't always do it seamlessly, which makes the film seem unfocused. The events of the third act felt rushed together just to come to a resolution. Without going into spoiling there's a head scratching moment near the end that seemed out of left field. I didn't have too many problems with all this and maybe its because I'm partial to Affleck and gangster films.

I enjoyed the car chase and gun battles. I think the comic element of the film kind of swept into the action scenes which made it enjoyable. I liked that the film takes place in Tampa and mixes with the Black and Cuban community as well. Its nice to see a sort of different locality in a gangster film. I'm sure there's much more I want to ramble about but nothings coming to me. Overall, this probably won't be something that'll be a the top of year end lists but its thoroughly enjoyable even through its flaws. Its not Affleck's best but I applaud him for directing and writing films in a time where he's busy being in blockbusters.

8/10

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

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.

Ben Affleck returns to Dennis Lehane's work with this adaptation of Live By Night, the second novel in a trilogy (starting with The Given Day and finishing with World Gone By). Live By Night is a gangster epic which follows the rise to power of Joe Coughlin, a young Boston criminal who ends up running an empire in Florida for the Italian mob. As with The Town and Argo, Affleck casts himself in the leading role and is joined by an impressive supporting cast including Sienna Miller, Zoe Saldana, Elle Fanning, Robert Glenister, Chris Cooper and Brendan Gleeson.

The film begins with Coughlin, as the narrator, introducing himself as a veteran who has returned disillusioned from WW1 to the extent that he refuses to follow rules or take orders from anybody. As such, he now considers himself an outlaw. We see him and his crew embark on daring robberies, including a poker game ran by one of Boston's major gangsters, Albert White (played with menacing vigour by Glenister) whose moll is having an affair with Coughlin. As repercussions ensue, Coughlin reluctantly takes on a job for White's mob rivals who send him to Ybor City, Florida, in order to take over their rum import enterprise during the prohibition era. Despite initial protestations that he is not a gangster, does not want to be wedded to the mob or have to take orders from anyone, he eventually concedes to his circumstances and his need for revenge against White, and so quickly sets about establishing his presence, authority and power across Southern Florida. In doing so, he finds love, friendship and enemies as he encounters the wrath of various strands of the Florida populous, ranging from the devoutly religious to the KKK, who take umbrage with his diverse business and personal relations. Naturally, events head toward a bloody and violent showdown.

As an addition to the gangster genre, Live By Night certainly has a uniqueness to it. Thanks to the Florida setting, there is a notable feel and style to the film. Whereas the typical gangster movie might be set in dark and claustrophobic city locations such as Chicago, New York, Detroit or Boston, the story here is told against sun-soaked, colourful and expansive scenery which provides a sense of heat so stifling that it can almost be felt coming through the screen. The film also boasts some sumptuous scenery, particularly of the Florida glades, whilst the early 20th Century town-life of Ybor City really comes to life thanks to excellent design, costumes and vibrant music. It was interesting, too, to see a gangster film based during the prohibition era which told its story from the perspective of the suppliers of the alcohol, rather than the city-based recipients. Additionally, the ethnic diversity of the characters form a foundation for the depiction of the racism that was so prevalent in the southern United States during this period, and this gives Live By Night a distinctiveness within the genre.

Unfortunately, whilst Affleck has proved himself to be a superb director, this is by far his weakest effort. Hastily cut and edited, the first act in particular chops and changes scenes with such frenetic pace and frequency one could be forgiven for feeling queasy with motion sickness. This may very well be a conscious decision by Affleck, as Coughlin's voice-over thankfully helps provide some degree of constructive narrative, but as a result any provision of context, plot or character development feels completely overlooked; an issue that lingers throughout the film. Too much feels glossed over and rushed, with relationships suddenly formed and underdeveloped, whilst character motivations and intentions are under-explored and largely ignored.

Lehane's novel does not suffer from the same issues and therefore the source material cannot be blamed here. Indeed, we are introduced to Coughlin in the first novel, The Given Day, and his character, relationships, background, grievances and drive are detailed thoroughly. With Affleck's film, he introduces us to Coughlin midway through the character's reality and doesn't bother to lay a foundation for him. As a result, Coughlin's relationship with his high-ranking police officer father is barely covered, whereas Lehane uses this as one of the core influences behind his intention to live a life of crime. In the film, Coughlin says how he mourns for a lost love, but this is not something we actually get to see. Again, Lehane uses this as a key impetus for his character. Affleck's Coughlin, a petty criminal, insists on not becoming a gangster, yet hits the ground running the second he arrives in Florida setting up the empire. There are various other examples which all highlight how the events within Affleck's film are mostly conceived out of pure convenience.

Compounding this sense of underdevelopment and hastiness is an infuriating lack of any indication of how much time is passing throughout the story. At one point towards the end of the film, Coughlin refers to a girl who died in 1927, and this just highlighted the fact that, aside from references to US Presidents and the end of prohibition, there is nothing to suggest when these events are taking place or indeed how long they are taking.

It's frustratingly poor storytelling, especially when considering the strength and quality of the source material. Combined with Affleck being so prominent in his leading role, his decision as the director to use so many facial close-ups and lingering shots of Coughlin means that Live By Night essentially feels like a self indulgence piece. Ironically, his brother Casey would arguably have made a better Coughlin and perhaps Affleck would benefit from staying behind the camera next time.

Ultimately, Live By Night is a missed opportunity. It looks fantastic, and there are some excellent action sequences including car chases and shoot-outs, but as a drama it is severely lacking in impact and finesse.

Producer, director, writer and lead actor: Ben Affleck.

Let's look at those contributions one by one.

Producer. The film looks good. There's an expert team on both sides of the camera. But there's a problem with length. Also, it feels as though the adaptation from Dennis Lehane's novel has not sufficiently transformed what was on the page into cinematic story-telling.

Director. There are excellent action sequences, such as an exciting car-chase and a final shoot-out. As a director of actors Mr Affleck is strong: he elicits particularly striking work from Chris Messina, Elle Fanning, Remo Girone and Sienna Miller. Within scenes there's a reassuring sense of control of pace. But overall, there is a sense of the director being in thrall to the screenplay.

Writer. This is the weakest link. It feels in awe of its source material. I read that an entire strand of the book was removed for the purposes of the film, but this was not enough. The producer and/or the director needed to tell the writer to put it through another draft. Or put it in its current form on Netflix as a two-part drama.

Lead actor. A matter of taste, I guess. Mr Affleck's persona is always of a handsome man who knows he's handsome, and who is very pleased with himself about it. I find this insufferable in large doses. And there is a very large dose of it here. Mr Affleck's performances lack depth -- compare and contrast those of this amazing brother Casey. As far as I'm concerned, Mr B. Affleck is more a male model than an actor: in James Bond terms, he's a George Lazenby rather than a Daniel Craig. His best film performance is his self-parodying turn in 'SHAKESPEARE IN LOVE'. In LIVE BY NIGHT he is serviceable, nothing more. His director clearly couldn't get anything else out of him.

It's instructive to compare Ben Affleck to Clint Eastwood, who also has a limited -- maybe even more limited -- range as an actor. But Eastwood the director usually casts Eastwood the actor brilliantly. DIRTY HARRY, UNFORGIVEN,GRAN TORINO etc: who could be better? By contrast, there are many young actors who could have played the lead in LIVE BY NIGHT, and many writers who could have delivered a better screenplay, especially when guided by a strong producer and director. Time will tell whether Ben Affleck is as good in those last two departments as ARGO suggested he might be. The promise he showed in those areas in that film is not in evidence here.