Medo da Verdade

It's become a hobby of mine this past year to watch IMDb's top 250, AFI's top 100 and all Oscar winning (and most nominated) films. I've seen over 100 films in just the past year alone, but I am struggling to think of a film that I enjoyed more.

The performances are outstanding. All of the characters- including the city itself - are filled with depth and ambiguity. Like a previous post mentioned, Amy Ryan did a phenomenal job as Helene, not only do I know many people like her, I'm related to some. I didn't even recognize her from her wonderful performance in the Wire.

The questions that this movie asks as it unfolds do not get answered in by the closing credits, and they still aren't answered as I type. Who was right? Is there a right answer? Morgan Freeman- the greatest actor alive- and Ed Harris give standard upper echelon performances. But I was surprised by Michelle Monaghan and especially Casey Affleck. He didn't flinch, and he didn't compromise his ideals, but in the end compromised nonetheless. I hope he gets a nomination.

Ben Affleck lost my favor somewhere around the time he began to cry in Armageddon, and I haven't taken him seriously since. But his achievement here, the pace, the mood, the spot on capturing of the desolate neighborhood, and the overall story leads me to anxiously await his next directorial effort.

The best film I've seen in years.

Every once in a while, amid the dross that reviewers have to sit through, comes a movie that hits like a sucker punch to the gut and haunts you long after you've left the theater. Such is the case with Gone Baby Gone.

Based on the book by Dennis Lehane (Mystic River), Gone Baby Gone marks the directorial debut of Ben Affleck, who also penned the screenplay in tandem with Aaron Stockard, and easily puts him at the front of the line for Oscar contention.

Casey Affleck and Michelle Monaghan star as a pair of private investigators based in the rough working class Dorchester district of Boston. The two are hired by the family of a missing four-year-old girl to assist the police investigation because of their street connections and ability to get people to talk who otherwise would never open up to a cop. As they navigate through the neighborhood's seamy underbelly of pimps, drug dealers and crack whores they uncover an ever-expanding mystery that takes on the added dimension of provoking the question of just what is right and what is wrong, firmly pitting both story and viewer in a struggle between situational ethics and moral absolutes.

Morgan Freeman and Ed Harris round out an impressive cast, but it's the younger Affleck who takes this movie on his back and runs with it, easily surpassing his director brother in terms of acting breadth and range. This is no slight to Ben, however. It's been a long time since I was this impressed with a directorial debut, and even longer since I was given cause to reflect upon the values that we hold dear as individuals and a society, and the moral foundations upon which they are based. Gone Baby Gone manages both, and wraps it up in a hard-hitting detective story that serves as much to satisfy the baser urges of bar fights and gun play, as it does tackling bigger issues.

It's also one of those rare movies in which it can easily be said that the less you know about the story going in, the richer the experience. There's no clear twist ending to give away, but rather a layered story that unfolds like a Russian stacking doll with a moral dilemma at its core.

One thing I do feel comfortable revealing, however, is that this movie comes about as close as any can to being a bonafide lock come Academy Award time. Congrats Ben, you may well have redeemed yourself from your J-Lo/Gigli reputation at last.

Ben Affleck's impressive directorial debut features some remarkably naturalistic performances, a genuine sense of locale, and an atmosphere of despair and hopelessness that becomes a major antagonist. An honestly downbeat film, it portrays a mode of existence where nothing is black or white, and it is that gray area that the film explores so effectively even if I find the story from Dennis Leheane's novel to be a bit far-fetched and convoluted. More than The Departed, Mystic River, and Peter Yates' The Friends of Eddie Coyle, Gone, Baby, Gone understands the inter-relationship among cops, criminals, and a neighborhood as they search for a missing child. Though the boyish Casey Affleck is arguably miscast as Patrick, a character who was more mature in the novel, his performance cannot be faulted and by the end he has won us over. The last scene is particularly resonant. Though well-known actors such as Ed Harris and Morgan Freeman are expectedly good, it is the performances of an unknown supporting cast that gives the film a disturbing authenticity. And Amy Ryan as the child's mother gives a trenchant performance. Director Affleck maintains an admirable tone of objectivity and compassion throughout, and he has made a film that is worthy of your time. Go!Baby!Go!

It is now largely forgotten that Ben Affleck's big break was not as an actor in but as a writer of "Good Will Hunting". His career has never lived up to the promise of his performance in that film (a quiet and subtle display) and has been overshadowed by the success of his friend and co-Oscar-winner, Matt Damon. With "Gone Baby Gone", Affleck moves back behind the camera, directing and writing, whilst his brother Casey, who really impressed in "The Assassination of Jesse James by the Coward Robert Ford", takes the lead.

The film is a gritty thriller at first, with a quite masterful opening which is engrossing and effective. The sense of location is evident from the start and both Afflecks demonstrate their talents. Casey is an interesting screen presence, and Ben is an unfussy director with an eye for location and images.

The film is served well be the stellar cast. Ed Harris is very good, as is Michelle Monaghan and the Oscar nominated Amy Ryan is fantastic, whilst Morgan Freeman is Morgan Freeman, which is nice. They do make the film easy to watch, even though the subject matter, focussing on child abduction, is difficult to deal with.

However, although the subject matter is treated well throughout most of the film, its fatal flaw is that it lets itself go in the third act. The plot twists and turns three times toward the end to lose nearly all credibility and then loses any that it had left by landing on a truly unbelievable conclusion. Its focus on character is not lost, but it is still a disappointment to see such a tightly played drama unwind at the end.

Nevertheless, this film has much promise. Its subject matter should be a consideration for anyone who is thinking of seeing this, but it is an intelligent and interesting film which is worth watching, mainly because of what it might be the precursor of.

Anytime a movie can get you to pause and consider a moral dilemma (what would I have done?) while watching it definitely deserves a high mark in my book!! This movie showed the very raw, mean streets of Boston's underbelly and didn't sugar-coat anything. I liked that it was real and not made all pretty for film as in so many other films of late. I have/will recommend this movie to all my friends. Kudos to Casey Affleck, Morgan Freeman and Ed Harris. This was, so far, the best movie I've seen in 2007. I haven't been impressed with Ben Affleck in front of the camera, but maybe he's found his niche - behind the camera? Just go see it.