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A story about friendship and loyalty, guilt and vengeance, and the fateful affect the past has on the present.
“We bury our sins here, Dave. We wash them clean.”
Mystic River and Unforgiven are my two favorite Clint Eastwood films and depending on which one I see last I tend to put in first place. Right now I’m inclined to declare Mystic River as Eastwood’s best film, but that is subject to change anytime (perhaps even before I finish writing this review). Nominated for six Academy Awards, the film won two: Sean Penn for Best Actor in a Leading Role and Tim Robbins for Best Supporting Actor. I was rooting for Brian Helgeland’s wonderful screenplay adaptation from Dennis Lehane’s novel, but it lost out to The Lord of the Rings: The Return of the King. Helgeland had previously won…
First watch of Noir-Vember. Following the standard police detective plot - murdered girl, multiple suspects, who will turn out to be the killer? - ‘Mystic River’ scores its point by enlisting a set of actors who surpass their level, led by a tremendous Sean Penn; man does that guy have range (I saw ‘Milk’ last week, what a difference). Second positive thing: though crimes seem to bore me without exception, Clint Eastwood sets a pace here that’s not rushed per se, but so captivating from the first minute that the hours seemed to fly by. Got myself some pizza at what I thought would be the forty minute mark, only to see there was barely an hour left! The variety…
I might have to watch more of Clint Eastwood's films. I only wanted to watch this because I was informed by fellow Letterboxd user Philip Carroll in my Gone Baby Gone review that it was based on a Dennis Lehane novel. Added to that, the script was written by Brian Helgeland, who also wrote the script for the excellent L.A. Confidential, so I did have high expectations for this.
While I admit some skepticism on behalf of its director, Clint Eastwood, my doubts were indeed put to shame. I have only seen three of the films Eastwood has directed, and I did like both Letters from Iwo Jima and Unforgiven, but he also directed J. Edgar, which wasn't a good…
"Is that my daughter in there?"
Wow, I can't believe it took me this long to watch this. Clint Eastwood had some serious balls for even attempting to tackle this type of subject matter at the time, and I congratulate him for that. The entire cast is phenomenal, especially Penn and Robbins, and like every other Clint Eastwood film, the cinematography is great. Even if the twist was a bit of a let down, Mystic River isn't as focused on it's mystery story as it is about the relationship between the three leads throughout their lives, which in a way made it a better film overall. Easily one of the better mystery films from the early 2000's.
Clint Eastwood has been one of the few actors who have mastered the art of direction. The switch from in front to behind the camera can be a tricky one and Eastwood without doubt is one of the best. For nearly forty years now he's cut his teeth after watching and learning from the best.
Mystic River is a crime film adapted from Dennis Lehane's novel of the same name. It features a stand out cast that bothered the Academy in a big way back in 2004. Two Oscars for leading lights Sean Penn and Tim Robbins and four more nominations, this was a real return to form for Eastwood after a couple of below par films in "True Crime"…
Suburban America defeats us all, eventually. The pull of the past is expressed by the outdoors; Eastwood capturing clearings and gaps in the trees as holes in memory yet to be filled in, whereas the present is consistently captured indoors, Penn's platitude soliloquies always delivered from within rooms - the one exception is the moment his daughter's body is discovered, the camera rising up above him and one (exterior) shot fading into another (interior) shot, past fading into present and memories dissipating as new histories are formed. It's a lonely, painful transition and one I will never forget.
Goes a long way to make a point, but is very watchable in doing that; a melodramatic procedural/noir sounds stupid on paper, but works pretty great in practice. Unusually pretty too: lots of deep shadows across faces, all under a coat of slightly desaturated olive green and turquoise.
Holy shit! That is what sums up the movie for me. It took me on a roller coaster of emotions for sure. Kevin Bacon and Sean Penn were absolutely fantastic in this film. They deserved those Oscars for sure. A great thrill ride and had me from go till the very last scene. Great movie but hard to watch.
An impressive story of a fractured friendship that is backed by a rather unimpressive mystery ("The Dead Girl"). The conclusion is even worse because the book Faithful Place basically had the same endgame, although I was slightly confused by the logic of the killer(s).
I loved Laurence Fishburne and Marcia Gay Harden's characters. The latter will break your heart with a tear-jerking performance. She sells the paranoia of being married to someone you cannot ever truly know perfectly. Fishburne has excellent chemistry with Kevin Bacon, and his scenes were automatically the most enjoyable to watch.
The movie ends on a depressing note (which isn't too far away from the constant feeling of dread and sadness generated by the blue color palette) so I can't see myself watching it again. Good movie, though.
One of my favorites by Eastwood.
I feel like this has somehow become a forgotten movie during the Boston film Renaissance. It's a gorgeous and meticulous look at grief anchored by an all time performance from Sean Penn. And while it gets a little too showy with some of its lines and some of the flourishes of the score, Eastwood's direction and attention to everything, all the way down to the peeling paint of the Southie triple deckers, is amazing.
This review may contain spoilers. I can handle the truth.
Think I feel comfortable with this again? The best. Chronological. Constantly in flux.
Every film that has ever been nominated for an Academy Award in any category. Enjoy!