Gone Baby Gone: Review

Few people, if any, expected much from writer/director Ben Affleck in his directorial debut but with Gone Baby Gone, Affleck seemed to pull a rabbit out of his hat, charming critics during its initial screening and building a steady buzz prior to its release. Perhaps thats why the film's middling success is a disappointment, since how can someone truly be disappointed by a film directed by Affleck that has moments that are dazzling. Starring the director's younger (and more talented) brother, Casey, Gone Baby Gone suffers from a story that feels uneven, fractured and finally, unbelievable. However, this is no fault of the Afflecks, who give it their all and come out on the other side in much better standing than they could have imagined.

Gone Baby Gone concerns a private investigator Patrick Kenzie (Casey Affleck) and his partner Angie Gennaro (Michelle Monaghan) who is hired by a family of a missing young girl to help with the police investigation. Kenzie is a guy from the block, who knows the ins and outs of the dialect and way of life, allowing him access into a world that the cops aren't priveleged to. He is attached to two detectives, Remy Bressant and Nick Poole (Ed Harris and John Ashton), who, at first, reluctantly accept his help, until it becomes clear that Kanzie has something to bring to the investigation, which quickly turns sour. Turns out that the missing girl's mother Helene McCready (Amy Ryan) isn't the best mom, dabbling in booze and drugs and may have even been involved with some shady dealings with a local drug dealer. As the narrative progresses, twist upon twist upon twist is heaped on, which ultimately leads to the film's downfall.

Ultimately, a film with too many surprising narrative turns is going to test a viewer's patience, perhaps even negating the effect of the final, gut punch twist and unfortunately, such is the problem that befalls Gone Baby Gone. While I can't comment on Dennis Lehane's source novel since I have not read it, the screenplay could have probably simplified the film a little and had more of an effectively paced and told story. There a few jarring shifts in time and story that Affleck and his fellow writer Aaron Stockard attempt to camoflauge with voiceover narration but it comes up short and the audience is left trying to piece together the story. There are a few sidetracks, most notably a shootout in a house, that while wonderfully directed, is an unnecessary narrative device. What is determined and told in that sequence could easily have been discovered in a few lines of dialogue. Instead, it feels like Affleck wanted to get some kicks in, including an unnecessary tangent that damages the flow of the film. What the script lacks in narrative prowess, it almost makes up for with its spot on dialogue, which perfectly captures the dialect of the Boston metro area. The conversations between characters zip back and forth with intelligent and realistic speak that greatly enhances the realism of the film.

In fact, as a film that captures the look and feel of a particular city, there are few works in recent memory that even rival Gone Baby Gone, in terms of authenticity. While it may be nothing more than a near miss as a thriller or morality play, it is a slam dunk as a film about the lives of people in a particular city. Unfortunately, setting does not guarantee a good film. It is obvious that Affleck knows the city that he grew up in and is able to recoginze its quirks and failings. His direction brings the city and characters to life, allowing them to feel life like and formed. Choosing to shoot the film in a sort of stark realism, Affleck's gaze is unflinching and admirable. If this is just the beginning for Affleck, one can only hope that he is able to follow in the footsteps of other actors-turned-director and take a floundering career, reviving it on the other side of the camera.


The acting here ranges from adequate to great, with the other Affleck more than holding up his end of the bargain. It strikes me that, after seeing Casey in featured roles in The Assassination of Jesse James by the Coward Robert Ford and now this, he is a star on the rise. His performances are gracefully understated, possessing a gift for dramatic acting that Ben has only flashed before (see: Hollywoodland). While he may have gained some minor attention in the Ocean Eleven franchise, these two films seem like the films that announce his presence as someone to take serious note of. Ed Harris and Amy Ryan both stand out as well. Harris' performance is unsurprising, given his ability and track record while Ryan, on the other hand, sneaks up on the viewer alittle more. Some may recognize her from the smattering of television she has done but her work here is spot on and noteworthy.

Gone Baby Gone is not a great film, I'm not even sure if its a good film but it certainly a film of promise for the Affleck family. With it, Ben has given notice that he may be more talented than the general public gives him credit for, delivering a film that misses in spots due to its narrative but never feels like a complete failure, largely due to his direction. It is steady and assured, looking more like the work of a veteran than a debut feature. On the other side of the camera, Casey Affleck is really emerging from his big brother's shadow and making a name for himself. He now has two wonderful performances in 2007 and don't be surprised if you hear his name come more and more come year's end. Gone Baby Gone may appeal to some but for me, something was lost on the way to the screen. Regardless, it signals the arrival of a potentially talented director and that, is never, ever, truly a bad thing.

**