Gone Baby Gone

What’s the Story?

Based on Dennis Lehane's novel of the same name, Ben Affleck's directorial debut GONE BABY GONE stars Affleck's younger brother, Casey, in a subtle-yet-powerful performance as Patrick Kenzie. Patrick is a two-bit detective roped into the big time when he and his partner (business and otherwise), Angie Gennarro (Michelle Monaghan), are recruited by a neighbor to help investigate the disappearance of 4-year-old Amanda McCready (Madeline O'Brien). Amanda isn't like many of the kids who unfortunately find themselves plastered on network news when they're abducted; she's from Dorchester, a hardscrabble South Boston community addled by drugs and crime. Her mother, Helene (Amy Ryan, in a stunningly affecting -- and effective -- turn), is a junkie, and her father is nowhere to be found. Victims like Amanda are apt to fall through the proverbial cracks: Already, the cops haven't turned up anything. Despite their misgivings, Patrick and Angie may be the only hope Amanda has, but their choice to get involved -- and stay involved even when answers have already been "found" -- may change them, and their relationship, forever.

Is It Any Good?

An impressive, confidently helmed vehicle -- which ably mixes grit with heart -- Gone Baby Gone lays to rest any impression that Affleck's talent, much-lauded in the Good Will Hunting days, is no more. From the first frame on, Ben Affleck's affection -- and, more important, his respect -- for his native city is palpable; rather than romanticize it, he presents it as is, with the ugliness intact. Much has been made of the lengths he took to be authentic (he shot in Dorchester and cast locals in nearly every scene) and it pays off. The movie thankfully lacks the gloss of many other crime movies, even those that are well done (like Out of Sight, for example). Even the twist ending feels less like a device and more like an essential plot development. Lehane's story is grim, as is the film's palate and tone. It may even outdo another lauded Lehane-inspired film, Mystic River.

The film does take time to find its footing early on, slightly hobbled by too much exposition (this is the drug dealer; here's the possibly corrupt cop; etc.). And Angie's character is sadly lightweight (though Monaghan gives it the old college try). But Gone Baby Gone quickly gets into a groove, thanks in no small part to a stellar cast -- can Morgan Freeman and Ed Harris do wrong? -- and a script, penned by Ben Affleck and Aaron Stockard, that isn't afraid to be ambiguous and complicated. Much like this new incarnation of Affleck himself.