| Warner Bros. Pictures | Release Date: October 8, 2003 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
37
Mixed:
4
Negative:
1
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Critic Reviews
To see strong acting like this is exhilarating. In a time of flashy directors who slice and dice their films in a dizzy editing rhythm, it is important to remember that films can look and listen and attentively sympathize with their characters. Directors grow great by subtracting, not adding, and Eastwood does nothing for show, everything for effect.
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Mystic River is classic Eastwood, classic noir. If there is still some doubt about whether this one-time macho star is actually a world-class moviemaker, Mystic River should end the argument for good. One of the best American movies of the year, crisply well-crafted and beautifully acted.
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So incrementally does Eastwood's film build toward what seems like an inevitable resolution that when it concludes, you're sucker-punched. You haven't been watching a police procedural, but a Greek tragedy. You haven't been watching a drama about the catharsis of vigilantism, but sitting vigil for a community diminished, and permanently damaged, by violence.
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If he were a more subtle director, it would be a great film; as it is, it's an extremely good one, anchored by the subtly devastating performances of Penn, Robbins and Bacon. The supporting cast is equally good, and blue collar Boston's mean streets take on a beaten-down life of their own.
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The performances, especially of Penn and Robbins, are so powerful and detailed (down to the Boston accents) that they often persuade one to overlook the narrative contrivances (particularly the incessant crosscutting), the arty trimmings (including Eastwood's own score), and the dubious social philosophy.
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