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137 out of 175 people found the following comment useful :-
Falls sort of greatness but superb nonetheless, 30 November 2004
Author: Roland E. Zwick (magneteach@aol.com) from United States

Lovers of great acting had best not pass up 'Mystic River,' Clint Eastwood's powerful, award-laden adaptation of Dennis Lehane's best-selling novel. Sean Penn, Tim Robbins and Kevin Bacon play three working class Bostonians forever bound together by a mutual childhood tragedy that has since gone on to define the kind of people they've become and the kind of lives they've led. The film begins with a brief prologue as we see the three youngsters - Jimmy, Sean and Dave - out playing in the street one day, when they are confronted by a pedophile who, posing as a policeman, tricks one of them, Dave, into getting into the car with him and another man. Fast forward to the present as we pick up the trio as grown men who have, for all intents and purposes, gone their separate ways. Penn is Jimmy Markum, a former petty thief who spent two years in the slammer but who has since turned straight and now owns a neighborhood liquor store. When Jimmy's daughter from his first marriage turns up murdered, the three men's lives intersect in ways they could never have imagined. Bacon is Sean Divine, a homicide detective assigned to the case, and Robbins is Dave Boyle, a sporadically employed man who may be a prime suspect in the murder. Dave still lives with the trauma of that earlier soul-shattering experience, while Jimmy and Sean wrestle with why they managed to escape the cruel finger of fate that pointed so grimly at their hapless playmate. The film is about how the events of our early lives (and, in the case of Jimmy, it doesn't stop at this one incident) can end up coming back to haunt us later down the road.

The Brian Helgeland screenplay makes the pain that each of these men experiences vivid and palpable. The grief Jimmy feels over the loss of his beloved child, the psychological torment Dave suffers as a result of his abuse, and the bewilderment and loneliness Sean experiences from a failed marriage all become integral to this dark tale of bitterness, revenge and attempted healing. At times, we do find ourselves wishing that the script would concentrate less on the details of the murder investigation and more on the inner workings of the three main characters. Too often we feel as if we are only scratching the surface of the roiling psychological torment taking place deep in the bowels of these men. The plotting, particularly towards the end, often feels more contrived than it needs to be, with heavy-handed ironies and obtruding parallelisms that don't seem to know when to leave well enough alone. Laura Linney, as Jimmy's second wife, has a key Lady Macbeth moment late in the film that might have been effective had we been more fully prepared for it and had her character been more thoroughly developed throughout the course of the film. As it is, the scene seems to come out of nowhere and leaves us both bewildered and hanging.

Still, these are minor quibbles when it comes to a movie as finely acted and directed as this one is. Penn hits all the right notes as a man facing the worst experience life could possibly throw at a person - the murder of one's child - trying to make sense of a tragedy that defies any rational explanation. Robbins beautifully underplays the role of a man scarred forever by what happened to him in his youth, now endeavoring to function as an adult when he was robbed of any semblance of a childhood. Bacon is excellent as the man who attempts to put all the pieces together, not only of the case but of the shattered lives he and his two buddies have been living all these years, and Marcia Gay Harden is outstanding as Dave's loving wife who struggles with what is perhaps the greatest moral dilemma faced by any character in the movie. Linney, Lawrence Fishburne and Tom Guiry offer fine supporting performances.

As director, Eastwood allows his superb cast ample time to develop their characters, never hurrying the proceedings along and always allowing the conversations to play themselves out. He recognizes the quality of the material and feels no need to gussy it up with self-conscious camera angles or fancy editing. He also uses the bleak settings of blue collar Boston as an effective backdrop to the stark, chilly tale he is telling.

Perhaps it is just an odd coincidence that three of the very best movies of 2003 - '21 Grams,' 'The House of Sand and Fog' and 'Mystic River' - all suffer from the same tendency on the part of the filmmakers to move away from reality and towards melodrama and contrivance in the final act. Of the three, '21 Grams' and 'The House of Sand and Fog' are harmed less by this than 'Mystic River' because they have a somewhat deeper thematic base and richer character development than does the Eastwood film. Still, 'Mystic River' is a mighty impressive achievement for those who made it and a rich, memorable experience for those who see it.

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109 out of 147 people found the following comment useful :-
Long Live the King?, 12 February 2005

Author: Brandt Sponseller from New York City

After three eleven year-olds from a close-knit lower middle class Boston suburb undergo a tragic experience where one is abducted and abused for four days, their lives diverge. The abducted one never overcomes the emotional trauma, another begins a life of crime, and the third becomes a cop. None ever venture very far from the neighborhood. When tragedy strikes again, their lives are gradually brought back together on a collision course that leads to some unexpected results.

Mystic River is a surprisingly dark film, with a controversial denouement. It is masterfully directed, acted, shot, edited, lit and scored. It is a mostly humorless and occasionally difficult realist drama, that will undoubtedly affect most viewers emotionally in a variety of ways--you may cry, you may become angry with at least one character and the lack of just deserts, and you may find it a bit depressing, although producer/director/composer Clint Eastwood and scripter Brian Helgeland do through in a relatively minor glimmer of hope/happiness at the very end.

Not that I tend to agree with awards organizations, but it should be no surprise that Mystic River has fine acting. A bulk of its many awards and nominations, including two Oscar victories, were for on screen performances. What is less recognized is the positive effect that the locations, cinematography, lighting and score have on the atmosphere of the film. Kokayi Ampah found the perfect, generic, metropolitan lower middle class neighborhoods, buildings and bars. It could be any slightly depressing, but maybe about to gentrify, suburb of Boston, New York City, Philadelphia, Cleveland, Chicago, Detroit, or any number of at least Northeastern and Midwestern U.S. cities. Tom Stern's cinematography is continually, subtly inventive. Just check out the shot of Sean Penn where shadows from a railing form symbolic jail bars on the wall behind him. The lighting tends to the late 1990s/early 2000s look that is more monochromatic and leaning-towards blue. There are a lot of well-placed shadows, often creating a chiaroscuro look. Eastwood's score is understated but very effective. And how can you not like a film where three sexy girls dance on top of a bar to jazz fusion?

The story is absorbing. There is an unexpected (to me, at least--I try to watch films the first time knowing as little about them as possible) mystery angle that is effectively sustained until almost the end. I haven't read Dennis Lehane's novel yet, but I just ordered it after seeing the film--the film piqued my interest enough to want to explore more. But the most interesting part of the story to me, at least, was the extremely gray depiction of Penn's character, Jimmy Markum. Markum is revealed to be largely criminal, and not quite likable in his attitude towards his daughter (he doesn't respect her individuality, even though she's actually an adult). Yet at the same time, he is compared by at least one character to a "king", and in many ways, he is treated as one in the neighborhood. This may or may not be meant more metaphorically by the character saying it, but it is possible to read much of the film as being about a traditional king trying to live in modern day metropolitan suburbia. In some historical and cultural contexts, surely Markum's behavior in the film would have a more noble sheen, including his "mistake". This is perhaps why poetic justice never arrives, and instead, the character is seen as contented, with his queen and court by his side, being regaled with a parade instead. In modern contexts, many kings' behavior would not be so noble, and instead we'd notice more the injustices done to the peasantry and sympathize with them. Markum's character cannot be depicted more literally as royalty, as if he were far removed from the socio-economic status of the film's peasantry (although we find out eventually that he has more money to spare than most folks in his neighborhood), because it would be instead read as a moral tale of economic disparity as is exists solely in modern times. Putting everyone on a level playing field, more or less, is the only way to create a parable of how kings would be perceived, solely in terms of their decisions and actions, in our era.

Of course, there is more to the film than that, and it's not the only interpretation possible (in fact, it probably seems very left field to many readers), but it's worth pointing out not only as something literally interesting to contemplate, but to show the kind of storytelling depth that is contained in Mystic River--a film you should not miss.

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60 out of 73 people found the following comment useful :-
Character Study in a Minor Key., 23 April 2005

Author: nycritic

*** This comment may contain spoilers ***

Most murder mysteries go the way of unleashing tension and a mounting sense of suspense and danger as the plot originating from the murder in itself reveals red herrings and a more sinister plot underneath just waiting to be discovered.

Clint Eastwood's thriller goes a completely different direction: while the identity of the killer is still at the center of the story and is revealed in almost surprising -- but plausible -- sequence, this is more a powerful character study of three childhood friends joined together by the very horror of a life extinguished. All three actors make their roles their own -- Sean Penn is quietly intense and devastated, Tim Robbins is the ultimate broken man through circumstances not of his control who still relives his own tragedy every day, and Kevin Bacon plays a stoic detective who also has some relationship issues of his own.

If there's one weakness in the movie it's the way the women are written. While Marcia Gay Harden fares better in her portrayal of a housewife who discovers what she believes to be a deadly secret involving her husband (Tim Robbins), Laura Linney, while being strong in her own role, is a little underwritten throughout and her sudden change at the end is a little inexplicable though chilling and recalls Lady MacBeth's speeches towards MacBeth.

A very bleak take on the notion that some people never learn from the mistakes they make in life and how those mistakes come back to rip their own life apart in the most subtle of ways, one of the most emotionally dark movies of 2003 and completely deserving of its Oscar wins (for Best Actor and Supporting Actor, a feat repeated in this years Oscars for 2004) and nods.

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81 out of 120 people found the following comment useful :-
Spoilers for an over-hyped mediocre movie ahead, 26 October 2003

Author: MafiaSquirrel (Mafiasquirrel@juno.com) from Occupied Palestinian Territory

*** This comment may contain spoilers ***

Your bitter reviewer walked into the theater with high expectations, I had to beg my fiancee to see this, promising her the masterpiece that the hype said it was. It was, to put it gently, not as good as an average episode of "Law and Order". The characters that weren't overdone or hopeless cliches (e.g. Celeste) were given no consistent motivations or satisfactory explanations for their actions (Jimmy, Sean). The movie waffles on the strength and extent of the boys friendship; Are they still friends? If so, do Dave and Sean know that Jimmy is a small time mafioso? Is all of Boston related to each other, at least six of the major and minor characters are cousins, including Jimmy and Dave (by marriage I assume) yet supposedly they barely know each other anymore. Celeste was a horrible character, first the whole film she looked like she'd scream and cry if her kid or anyone else sneezed. Then she sells out her husband to Jimmy, someone who will most likely at least beat him within an inch of his life if not kill him and then sells JIMMY out to Sean after the situation she brought about has climaxed. This is not a woman you want to go hunting with. And the murderers, where do I begin? Sean said they HAD NO MOTIVE. This is bad writing. They just wanted to play tough guys and the random passerby, the victim, just HAPPENS to be his brother's girlfriend and not only that, the daughter of the hood that his father ratted out when he was most likely two and sent up for a stretch. The kid had no way of knowing, and I give the movie credit for not suggesting it, that Jimmy murdered his father. To top it all off, if this was a random act and an accident that she died, why did they abuse the body? Like I said, bad writing. Kevin Bacon's last five minutes in the movie is on repeat somewhere in actors and filmmakers Hell. He goes from hearing about his friend's death, someone he obviously feels indebted to, to laughing and smiling on the phone to his creepy, stalking wife. He follows this gem with the "finger gun" during the parade with a bizarre smirk on his face. Methinks making movies like "Wild Things" has damaged the acting center of his brain. This movie is nothing what critics or the hype said it would be, there are better films by all these actors and this director, both in front of and behind the camera. Go rent those. Movies like this make orphans cry.

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42 out of 51 people found the following comment useful :-
A Tragic Story of the Loss of the Youth in a Contemporary Classic, 26 June 2004

Author: Claudio Carvalho from Rio de Janeiro, Brazil

Twenty years ago, the boys Jimmy Markun, Sean Devine and Dave Boyle are neighbors and pals, playing hockey on the street. One day, Dave is kidnapped by two men, being sexually abused, but escapes from them four days later. In the present days, each one of them followed one way in their lives: Jimmy (Sean Penn) is married with Annabeth Markum (Laura Linney), has three daughters and has a small business. Sean (Kevin Bacon) is a detective, and his pregnant wife left him six months ago. His colleague is the detective Whitey Powers (Laurence Fishburne). And Dave (Tim Robbins) is a traumatized man, married with Celeste Boyle (Marcia Gay Harden) and having a young son. When the nineteen years old daughter of Jimmy, Katie Markum (Emmy Rossum), is found dead in the neighborhood, the three friends in childhood meet each other again, in the investigation of the murder. A tragic event happens in the conclusion of this investigation. This movie is excellent. Yesterday, I saw it on DVD and I was impressed with the direction of Clint Eastwood and the performance of the cast. It is almost impossible to highlight one actor or actress, but I was stunned with the performance of Sean Penn. It is a film based on the acting, and not on special effects, shootings or race of cars. I was very impressed, since the tragic story of the loss of the youth is very real, full of human flaws, disturbances, prejudice and judgements. The destiny of this movie in the future may be to be considered a contemporary classic. My vote is nine.

Title (Brazil): `Sobre Meninos e Lobos' (`About Boys and Wolves')

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61 out of 94 people found the following comment useful :-
Chilling, effective and real, 24 April 2005

Author: jofitz27 from Liverpool, England

After a while, one has come to expect mediocrity from Clint Eastwood. "Blood Work" "Space Cowboys" and "Sudden Impact" all shining examples of this. But what he has here is true; sophisticated, intricate and rewarding. Viewing is definitely recommended.

Three boys, Dave (Tim Robbins) Jimmy (Sean Penn) and Sean (Kevin Bacon) are reunited after the murder of Jimmy's nineteen year-old daughter. Immediately, a whodunit case arrives. Sounds average, dunnit?...

No. It's much more than average. What might appear as a normal murder mystery is more. The acting, particularly from Robbins and Penn, is immaculate. Robbins is still recovering from child sexual abuse along time ago. Penn, so realistically and amazingly, mourns over the loss of his daughter. Laurence Fishburne (playing cop Whitey) is as smart talking as ever, whilst Kevin Bacon gives a solid performance as the homicide cop investigating the case.

Though the film becomes a bit uneven towards the end, this tough, brutal and uncompromising; but still, a masterpiece, and the best work Eastwood as done in years.

Final Analysis: 9 out of 10

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32 out of 37 people found the following comment useful :-
Bogus 'tragedy', 3 November 2003

Author: kinolieber

*** This comment may contain spoilers ***

**SPOILER**

Mystic River is being accepted in the U.S. as a serious, tragic tale of the terrible consequences of violence and abuse.

What it really is, is a manipulative revenge tale about the sensitive inner life of a vigilante murderer.

I was appalled by Laura Linney's big scene at the end where she praises the murderer for his kinglike qualities. I think it's in there not so much for its ironic 'Lady Macbeth' horror, as for its balancing effect on all those moviegoers who actually agree with her and see the Sean Penn character as flawed but heroic: a kinder, gentler Dirty Harry. There's a reason why the film makers eliminated a crucial moment from the book: In the book, the Kevin Bacon character promises the Marcia Gay Harden character that he will prove that the Sean Penn character committed murder and that he will prosecute him for it. Instead, Eastwood plays it cozy, leaving the legal consequences of the vigilantism ambiguous, just in case his core audience happens to think that what Sean Penn's character did was wrong, maybe, but understandable and justified. And after all, who got hurt? Just some loser pervert, right? Or as the film describes him, "damaged goods".

What a load of horse manure.

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55 out of 84 people found the following comment useful :-
The ties that bind - for the good, the bad, and the in-between., 6 October 2005

Author: Peter Hayes from United Kingdom

Three young friends play in the Boston street. They start to misbehave and a car approaches and a man climbs out looking like a cop, acting like a cop and seeming to have police ID. He beckons one boy over. He says they are going to take the boy somewhere (home maybe?) - the others say nothing and look on, glad it isn't them.

However the man is not a cop, he is a child molester/sadist and has taken him to rape and quite possibly later murder. However, several horrific days later, the boy escapes to freedom - nevertheless what happened to him and the two others will never leave them. It marks every day of the rest of their lives: and for Dave (the kidnapped boy) the wounds run very deep in to his flesh.

I am frightened of saying it, but Clint Eastwood is now America's best director: and not only that, he is one of the bravest. This is not the most obvious film. Dark, mean and giving little security blanket to hang on to. Thankfully he has assembled the best cast anyone could ask for and all three co-leads (the three street boys that go on to be men - Sean Penn (Jimmy), Tim Robins (Dave) and Kevin Bacon (Sean)) are excellent. Also worth a mention is Laurence Fishburne as a laconic black cop with a firm but fair attitude.

This film is not really much about women nor is it flattering to them. The later actions of Dave's wife (Marcia Gay Harden) make little sense on any level unless clues lie on unfilmed pages of the Dennis Lehane novel. Further discussion of it would be a spoiler.

The plot could (falsely) read as a whodunit or thriller: Jimmy's (an ex-con who now runs an convenience store) daughter is murdered and two main suspects quickly emerge. A boyfriend who was about to elope with her and the former abused boy Dave who had seen the girl behaving slightly wildly in a bar on the night she was killed. To make things worse Dave had come home late with a stab wound from that very night - he was "stabbed by a mugger," so he says, but the cover story makes no sense.

To complicate things further Sean (Bacon) is now a cop on this very case with female problems of his own. Thankfully they are mostly off screen because this film has enough problems for several movies. He is no longer open friends with Jimmy, but clearly he is viewed as more than just an ex-con trying to make good.

People that have read the book say that it remains true to its pages and that maybe is the reason why things happen slowly and the end is not an absolute full stop. The thriller part of exercise creaks like an old door because we have to believe that the Dave incident was a giant coincidence or he was - somehow - involved. And if so, why?

I was intrigued as to why the three central characters should stay loyal to the area. What keeps them? Especially Dave who everyone views as damaged goods and not a crime victim. Even his own wife. As I said before, Jimmy runs a store (where did he get the money - from crime?) but has a criminal past and maybe even a criminal future if some of the people he is around are anything to go by. This is not a film that believes in total revelation.

I am also puzzled by when the "present day" is meant to be. There is confusion about whose blood was found in a certain place which would have been solved easily by DNA examination. They talk only of blood groups.Hmmm...

Despite its many faults this is serious and skillful film making and while I agree with another reviewer - that television does this kind of the thing better - that isn't to say that this isn't a welcome addition to the cannon of believable (in outline form) street drama involving imperfect people trying to make the best of things in very difficult circumstances.

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52 out of 80 people found the following comment useful :-
Worse dog I've not seen for quite a while, 13 January 2004

Author: john_keck from Washington, D.C.

*** This comment may contain spoilers ***

Contains Spoilers Forget about the (stupid) ending. Even technically this film was a clunker.

The Hollywood buzz about this movie is that it's gonna win a lot of Academy Awards. The real reason behind the buzz is that (1) all the right stars are in the flick (e.g., how many degrees of separation from Kevin Bacon? Can you get more P.C. than Penn, Robbins, and Linney?) and (2) the morally ambiguity of the film gives it that cachet of being 'intellectual,' 'edgy,' and 'pushing boundaries' (translation: the same old trash). It all boils down to being in tune with political fashion. P.T. Barnum was right. This film is gonna clean up at the Oscars.

Okay, so I'll have to admit that the acting wasn't bad. Problem is that there were no characters for the actors to work with. I really didn't care about any of these folks because they had no endearing traits and and there weren't any substantial relationships between them... basically just a bunch of selfish low-lifes. Even Sean the cop (Kevin Bacon) was basically an amoral loser.

Now, liking or at least identifying with the characters builds interest in the film, but also makes us care about them, so that the emotion flows naturally out of the film. Mr. Eastwood compensates for the lack of natural emotion by employing the typical manipulative Hollywood histrionics. For example, we're supposed to Feel for Jimmy (Sean Penn)when he finds out that his (floozy) daughter Katie is dead. Problem: Jimmy's a two-bit jerk of a thug with an overworked Boston accent and we've only seen him with his daughter for 5 seconds: who COULD care about him or his daughter? Solution: Have him bawling and struggling against a cadre of cops to see his daughter's corpse; swell the Operatic Music; pull the camera back and overhead to give a sense of The Enormity of his loss. Voila! Instant emotion! This was just one of several examples in which the direction was so overblown I couldn't help but think that Mr. Eastwood had no concept of real emotion.

Even worse than the screenplay and direction was the soundtrack. Throughout the whole film the word that kept coming to me about the music was "incongruous"; it basically almost never fit with the film (I guess that makes it edgy?). The final credits reveal that Mr. Eastwood, that man for all seasons, wrote the score. I could have guessed the writer was an amateur; now I also know he was an egoist.

There even seemed to be problems with continuity. The mother of Katie's boyfriend Brendan tells her son that he's better off without her. A couple scenes later Brendan's deaf brother apparently repeats this same comment to him and Brendan acts as if he's surprised and shocked that she said it! Also, in the climatic scene we learn the identity and motive of the killer. In the following scene, Sean gives Jimmy an entirely different motive for the killing. Maybe I'm just dense and maybe Sean had a reason for obfuscating, but I didn't see it. (POSSIBLE SPOILER: If the first motive was right, how did the killer track down Katie so efficiently? If the second motive was the true one: wasn't it just too incredible a coincidence that, of all the people in Boston, the killer just HAPPENS upon that one particular person?)

Of course, after Sean's conversation with Jimmy, Sean's estranged wife finally calls and talks to him--out of the blue! Why? Explanation: the story needed a sense of victory at that point, and since the plot itself didn't provide it, well, we'll just tack on some portable catharsis!

Others who've reviewed this film liked the 'surprise' scene near the end between Penn and Laura Linney. I thought it stank. This Revelation about Linney's character was out of the blue. I guess we're supposed to chalk it up to Surprise Ending. In reality it's just bad writing: a real surprise is when, looking back, you should have and could have known, but just didn't put the pieces together, for example, _The Usual Suspects_ and _The Sixth Sense_. This scene just had NOTHING to do with the rest of the film!

**Potential SPOILER (heck, the whole film's a spoiler)** Also, Dave (Robbins) was apparently the scapegoat for all the bad things that happened in the film. (Perhaps 'pincushion' is better?) Poor bastard. And to top it off, I just didn't give a tinker's dam about poor Dave! He was a complete loser from start to finish: he had no redeeming qualities, his wife didn't love him and neither did his "friends." If the film is supposed to Make Us Think, it would have done more effectively if the audience actual felt a loss when Dave got it (again). **END SPOILER**

The rule of thumb is that if you have a great screenplay you just MIGHT get a good film. The bottom line on this film: THE SCREENPLAY SUCKED. And even great direction (which it didn't have) couldn't have redeemed this film.

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61 out of 100 people found the following comment useful :-
Tragic Travesty of Tragedy - Is this really what you meant, Mr Eastwood???, 11 December 2005

Author: kashuu1 from Japan

*** This comment may contain spoilers ***

The nauseating accolades that this monstrous movie has received just prove that Hollywood does its job very well. Throw in some brilliant actors, clever cinematography, a melodramatic score and an iconic director, and voilà - suspension of disbelief - of good sense - of morality itself. Perhaps it is the result of playing in too many Westerns in which there is no rule of law. Mr. Eastwood, for whom I had the greatest respect UNTIL I saw this film, seems to advocate a return to those times when we settled our differences with our guns and with impunity.

I sat through the bleak, depressing story, realizing that there was going to be no "Happy Hollywood Ending." But I was totally unprepared for one that completely exonerated the most foul deeds of the even more unsanitary characters. And that speech at the end by Laura Linney just served to sink the depths of the female characters to subterranean levels. Marcia Gay Harden's character, however, previously did much of the sinking when she literally put a contract out on her husband's life by telling her totally unfounded suspicions to the murdering thug played by Sean Penn.

Brilliant acting notwithstanding – an accolade that is also debatable except in the case of Tim Robbins – how can a movie that validates violence, murder, selfishness, lack of responsibility and consequences, be given any awards of any kind???? What kind of society are we, if we can become so dazzled by Clint Eastwood and his chosen actors that we miss the gaping hole where the film's moral center should be???? Or rather than absence, the film's moral center is one that is so amoral that it should be equally impossible to miss. Yet miss it so many of us have done.

If the intent of the movie was to shock us into outrage at the gross miscarriage of justice perpetrated at the end of the film, at the utter lack of sensitivity that the characters demonstrate towards the victims, then I would praise it as one of the best films of all time. But the message I received was not one so enlightened. And the utter horror – of the amoral message as well as of the blindness and/or acceptance of most of the public – totally undermined any redemption that might otherwise have been found in the dramatization by Tim Robbin's character of the long-lasting and wide-ranging effects of child molestation. His young friends did not protect him as a boy. They compounded this failing as adults. And we, the public, abandon him in like manner, when we honor those who would dishonor and destroy him.

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