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Live by Night boasts visual style and an impressive cast, but they're lost in a would-be crime saga that finds producer, director, and star Ben Affleck revisiting familiar themes to diminishing effect.
Live by Night boasts visual style and an impressive cast, but they're lost in a would-be crime saga that finds producer, director, and star Ben Affleck revisiting familiar themes to diminishing effect.
All Critics (222)
| Top Critics (38)
| Fresh (78)
| Rotten (144)
You probably won't turn it off when it comes on cable. But the material needs to be bigger, more momentous, as well as more intimate.
One of the film's final set pieces is so wonderfully staged that it reminds you what skill Affleck has with the camera. Next time, he should perhaps confine himself behind it.
Live by Night is a solid, interesting but sprawling and often overwrought gangster picture.
A footnote in the history of cinematic mob stories.
Here, the outlaw-as-hero trick just doesn't work; we can't both sympathize with Coughlin's moral quandaries and thrill to his crimes.
It sure looks great - it was lensed by Tarantino regular Robert Richardson - and its gangster-movie tropes are familiar, yet welcome.
At its best, Live by Night recalls other gangster flicks like Road to Perdition, Carlito's Way, and The Untouchables, but it fails to sustain their level of gravitas.
gradually realizing that not only isn't it good but that it's never going to become good feels like a small-scale slow-motion tragedy
Tommy guns, bootleggers, fedoras and molls - Ben Affleck's Live By Night has everything you would want from a 1930s gangster drama.
Although Live by Night has the standard two-hour runtime, it somehow manages to feel both too languid and too rushed.
A wrongheaded attempt at a noir thriller that manages to make cinema's coolest genre look utterly, irredeemably ridiculous.
The equivalent of ordering Little Caesar's pizza; It looks so pretty on the outside but has little to no taste on the inside.
Though it doesn't exactly die on-screen, Ben Affleck's stylish but stale latest presents a Gangsta's Paradise that recycles characters and situations seen time and time again in better 1930s-set mob classics. In this R-rated crime thriller, a group of Boston-bred gangsters (Affleck, Chris Messina, et al) set up shop in balmy Florida during the Prohibition era, facing off against the competition and the Ku Klux Klan.
After turning out back-to-back hit A-Grade dramas The Town and Argo, writer-director Affleck had his pick of H'Wood projects, including taking a go at Justice League. Instead of teaming Batman up with other DC heroes, he chooses a different Dark Night, one exuding flourish but ultimately mired in clichés. He should have stuck with the Caped Crusader--not just because Live By Night lacks a unique oomph, but because his singular talents could have definitely improved upon Zach Snyder's less-than-stellar Justice League. Teaming up again with South Boston-born novelist Dennis Lehane (their first collaboration, the excellent kidnapping puzzler Gone Baby Gone, marked the auspicious start of a truly gifted filmmaker), Boston-bred Affleck sees an ambitious chance to leave a mark on the gangster genre, award-winning bestselling book in-hand. What results, however fresh the source material, somehow feels like a long slow walk in Alligator shoes. Punctuated by moments of visual spark (the climactic set piece, a bloody affair set entirely inside an oceanfront Miami hotel, is an exciting symphony even though you already know it note-for-note) and inspired casting, the adaptation hardboils down Lehane's more complicated story into something more pedestrian and bland.
Affleck leads a capable cast that stands and delivers, among them Messina, Chris Cooper, Zoe Saldana, Sienna Miller, Scott Eastwood, and Brendan Gleeson, with Elle Fanning being the standout. They all seem to be having a great time playing Gatsby with Guns (having a slightly better time than the audience, at least), but no one here is walking away with an award. More boorish than noirish, their playing field is an all-too-familiar turf that looks grand (cinematographer Robert Richardson deserves special mention) but is ultimately more of a trope-ical than tropical paradise.
To Sum It All Up: Bored-Walk Empire
Other than the costumes, this flick's a nightmare.
With only three films, Ben Affleck has successfully reinvented himself as one of Hollywood's most talented directors when it comes to adult crime thrillers. It's not just his superb directing chops; the man also serves as producer, lead actor on most films as well as a screenwriter, and Affleck's ability to write flawed yet deeply human characters within genre parameters has accomplished actors flocking to work for him. Beyond his 2012 film Argo winning Best Picture, Affleck has gotten three different actors supporting Oscar nominations (Amy Ryan, Jeremy Renner, Alan Arkin). He's an actor's director and a man who knows how to satisfy an audience hungry for authentic genre thrills and interesting characters. His latest film is an adaptation of Dennis Lehane's novel and is Affleck's most ambitious film yet and it's gorgeously brought to life. There's still plenty to like and entertainment to be had with his Prohibition era gangster flick Live by Night but it's also unquestionably Affleck's weakest film yet as a major director.
Joe Coughlin (Affleck) is a hardened WWI veteran who says he came back to Boston as an "outlaw" (he seems to turn up his nose at being called a "gangster"). Joe settles into an easy life of crime with the local Irish gang lead by Albert White (Robert Glenister). Unfortunately, Joe's lover, Emma Gould (Sienna Miller), happens to be White's main squeeze. They sneak around and carry on their relationship without proper discretion. Their secret is found out, Emma is dealt with, and Joe escapes with his life, serving a prison sentence and then enlisting in the Italian mob under local boss Maso Pescatore (Remo Girone). Joe is sent to Tampa to manage the rum-running business, starting his life over. The area is ripe for expansion and it isn't long before Joe is making friends and enemies over his exploits. He falls in love with Graciella (Zoe Saldana), a fellow criminal with a working operation of Hispanic bootleggers. Joe warms to a local police chief (Chris Cooper) and his daughter, Loretta (Elle Fanning) a girl who experiences the darker side of vice and becomes a troublesome born-again leader. All the while Albert White has relocated to Miami, and the specter of vengeance looms just within reach.
It's a Prohibition gangster flick and Affleck makes sure to check as many boxes as he can when it comes to audience expectations for a pulpy action drama. The production design is ace and the cinematography by Robert Richardson (The Hateful Eight) is beautifully composed with its use of light, shadow, and framing. There are shots of violence that are exquisitely rendered so as to be their own art, like a man falling down a stairwell with a Tommy gun blasting above bathed in light. The production details are a sumptuous aspect that Affleck and his team put supreme effort into to better make their movie transporting. The action sequences have a genuine delight as they pop. A shootout throughout the grounds of a mob-owned hotel is an exciting climax that finds fun ways to provide genre thrills. The rise-and-fall structure of the story, mingled with a simple revenge motivation, is a suitable story vehicle for the audience to plug into. There are fun characters, fun moments, and sizzling action, all decorated in handsome period appropriate details. While Live by Night has its share of flaws, a dearth of entertainment is not one of them.
Tone and coherency end up being Affleck's biggest obstacle he cannot overcome. It's somewhat of a surprise considering his other directorial efforts brilliantly melded several genres while telling invigorating stories. I think the main fault is a screenplay trying to do too much when more streamlining was optimal. The specific goal that sets Joe in motion is a bit hazy and fails to provide a larger sense of direction for the arc of the tale. Affleck's previous films were rock-solid in crafting overarching goals that propel the scenes onto a natural narrative trajectory. With Gone Baby Gone, it's finding the missing girl. With The Town, it's getting closer to a bank witness without having that relationship discovered by his cohorts. With Argo, it was rescuing the hostages. With Live by Night, it's mostly getting vengeance against Albert White. In the meantime, we have episodic incidents failing to register connective tissue or at least a cause/effect relationship where it feels like a natural order of organic conflicts. The opening act in Boston that sets up Joe's tragic love, jail time, and enmity with White could be removed entirely. I'd miss the thrilling 1920s car chase, which is also unique in that it's the first period car chase I can think of that utilizes the mechanical limitations of the vehicles for extra tension, but it's at best a moment of flash. Having the story pick up with Joe putting his life back together in sunny Florida would have been a cleaner entrance into this world for an audience. Once Joe ingratiates himself into this new world, the audience has to play another game of character introductions and assessing relationships and the balance of power. It feels a bit redundant after having our previous act pushed aside to reboot Joe's world.
It feels like Affleck is trying to corral so many historical elements that he loses sight of the bigger picture. Joe's criminal path seems comically easy at times as he builds a fledgling empire along the Floridian west coast. First it's the law and then it's the KKK and then it's religious revivals that need to be dealt with. Each incident feels like a small vignette that observes the historical setting with an angle that will be perfunctorily dropped in short order. The conflicts and antagonists don't feel sufficiently challenging and that lessens the intended suspense. When Joe is dealing with the KKK, it feels like he's restraining himself out of politeness rather than a series of organic restrictions. The elements and tones don't really seem to inform one another except in the most general sense, which leads to the film lacking suitable cohesion. It's easy then for Affleck to overly rely on stock genre elements to provide much of the story arrangements.
The characters have difficulty escaping from the pulp trappings to emerge as three-dimensional figures. Graciela gets the worst of it, proving to be a capable bootlegging criminal in her own right who loses all sense of personality, agency, and import once she becomes romantically entwined with our hero. It's as if she erased herself to better heal his broken heart. How kind of her. The religious revival element is ripe for further examination, but it's kept at a basic level. We're never questioning the validity of Loretta's conversion and sudden celebrity. Chris Cooper's pragmatic lawman has the most potential as a man trying to keep his morals amidst the immoral. The character isn't utilized in enough interesting ways that can also flesh out his dimensions, and his conclusion suffers from the absent development. The characters serve their purpose in a larger mechanical sense but they don't feel like more recognizable human beings.
Affleck's innate talent with actors reappears in a few choice moments, just enough to tantalize you with the promise of what Live by Night could have been. The standout moment for me is a sit-down between Joe and Loretta where she unburdens her self-doubts. This is a woman who has been preyed upon by others, had her hopes dashed, and is trying to reinvent herself as a religious leader, but even she doesn't know if she believes that there's a God. The scene is emotional, honest without being trite, and delivered pitch-perfect by Fanning (The Neon Demon). It's the kind of scene that reminded me of The Town and Gone Baby Gone, how Affleck was deftly able to provide shading for his characters that opened them up. Miller (American Sniper) has immediate electricity to her performance and reminds you how good Affleck is at drawing out the best from his actors. British TV vet Glenister is so good as a villain that seems to relish being one that you wish he were in the movie more. He has a menace to him that draws you in closer. Maher (The Finest Hours) is a memorable cretin who you'll be happy to be dealt with extreme prejudice. There isn't a poor casting choice in the film (hey Clark Gregg, hey Anthony Michael Hall, hey Max Casella) except possibly one, and that's Affleck himself. I know part of the reason he selects hid directing efforts is the possibility of also tackling juicy roles, but this time he may not have been the best fit. He's a little too calm, a little too smooth, a little too out of place for the period, and his director doesn't push him far enough.
A strange thing happened midway through, namely how politically relevant and vicariously enjoyable Live by Night feels specifically for the year 2017. It's a movie largely sent in the 1920s with characters on the fringes of society, and yet I was able to make pertinent connections to our troubles times of today. After a contentious presidential election where many feel that insidious and hateful extremist elements are being normalized and emboldened, there is something remarkably enjoyable about watching a murder montage of Klansmen. The Tampa chapter of the KKK takes aim with Joe's business that profit from fornicators, Catholics, and especially black and brown people. They're trying to shake Joe down for majority ownership but they're too stupid, blinded by their racist and xenophobic ignorance, to accept Joe's generous offers, and so they can't help but bring righteous fury upon their lot. There is something innumerably enjoyable about watching abusive bigots brought down to size with bloody justice. I could have seen an entire movie of Joe and crew tearing through the Florida chapters of the KKK and just cleaning out the rabble. This sequence whets the appetite for what comes later. Without going into specific spoilers, the climax of the movie involves the put-upon minorities rising up against their bosses who, like the Klan, felt they were too powerful, too indispensable, and too clever to be seriously threatened. In its own way, it's like a dark crime actualization of the American Dream. Unpack that if you will.
Live By Night is Affleck losing the depth of his world to its surface-level genre pleasures and they are indeed a pleasure. This isn't a bad movie by any measure, only one of slight disappointment because it had the markings and abilities to be much more than the finished product. The tonal inconsistency and storylines provide episodic interludes and enticing moments, whether in action or acting, but they don't blend together to form a more compelling and impressive whole. It's a gangster movie that provides the genre trappings but loses sight of what makes the characters in these movies so compelling, the moral complications, shifting loyalties, the impossible positions, and enclosing danger. I don't think you'll sweat too much over whether the main character will come out on top, which somewhat hinders the intensity of the action. When your movie is more predicated on those genre thrills than character or story, that's an even bigger hindrance. It's a fun world worth visiting but it doesn't have the staying power of Affleck's better efforts.
Nate's Grade: B
SOFT BOILED EGG - My Review of LIVE BY NIGHT (2 1/2 Stars)
As much as I've always loved the moodiness and the lighting in film noirs, I've also struggled with their convoluted brand of storytelling. Following the plot required more concentration than I was sometimes willing to give. You know, sometimes I just want to escape to a cinema to forget my troubles. All that exposition would make my head spin. It's also why I hated the LORD OF THE RINGS movies, so what do I know? Some people enjoy absorbing a crazy amount of detail and back story.
Of course there are exceptions. CHINATOWN, as complex as it was, had such cinematic sweep and insidious undertones that I found myself riveted from beginning to end. Love them or hate them, the genre, when running on all engines, could strike to the heart of corruption like no other. Writer/Director/Actor Ben Affleck clearly has an affinity for them, and with his Prohibition Era gangster film, LIVE BY NIGHT, which he adapted from a novel by Dennis Lehane, whose GONE BABY GONE Affleck turned into his directorial debut, he attempts to soften the tone of these hard-edged stories.
It's right there in the opening voiceover. Affleck, as small-time crook, Joe Coughlin, speaks in quiet, hushed tones, almost reminiscent of the work Morgan Freeman did in THE SHAWSHANK REDEMPTION. We don't hear any Bogart or Cagney cadences, and that low volume sets the stage for the entire film. Although his character has an interesting point of view and arc, it's as if Affleck himself didn't really show up for the party. Let's just say, as an actor here, he's a really good director. He's pretty much a flatlining blank, yet surrounds himself with some great actors and some thrilling set pieces that make the film more enjoyable than I thought possible.
Coughlin refuses to be part of any gang, and in Boston, that consists of a war between the Italian and Irish mafias. Unfortunately, he's having an affair with the Irish Mob Boss' wife (a nearly unrecognizable Sienna Miller), which leads to him becoming a ping pong ball between the two factions. Eventually, he moves to Florida to run rum and erect a casino for the Italians. Coughlin, along with his right hand man Deon (Chris Messina), spend most of the second act maneuvering through the minefield of the crime syndicate. It's a maze of a storyline, but Affleck directs some fantastic action scenes along with way, including chases and shootouts that indicate he knows exactly where to put the camera.
In addition to Miller and Messina, both of whom do good work, with Miller quite vivid as a boozy floozy unpredictable moll, Affleck gets solid work out of Chris Cooper, Brendan Gleeson, Zoe Saldana, and Max Casella. Elle Fanning moved me as the junkie daughter of Cooper's police chief character, especially in a scene with Affleck where they debate religion versus commerce. But the true scene stealer in the film is Matthew Maher, a racist gangster who antagonizes Affleck. His unpredictable performance, especially during a tense negotiation scene, made me sit up in my seat. He's like the bastard stepchild of Randy Quaid and Peter Boyle and Affleck's film comes to life whenever he's in a scene.
Unfortunately that life comes in fits and starts in this often dreary film. I don't mean this as a criticism, but it feels like Affleck is channeling Frank Darabont, whose films have measured paces at best. It's definitely a new way to approach the genre, but perhaps not the most exciting way.
Affleck's script is trying to say something about America. There's a bit of an "It takes a village" theme to it with its message of diversity. He's trying to accomplish the operatic sweep of THE GODFATHER, CASINO, and SCARFACE, but tonally it's a lot sleepier. Some of the death scenes, especially one in which a victim's blood drips into his cocktail glass, feel like they should be classic, but it's hard to outdo the masters.
If only Affleck had brought as much passion to his character as he did to the visuals, courtesy of dependably stunning work by cinematographer Robert Richardson. He has a big emotional scene in the final moments where I felt nothing. Better still, he should have cast a wildcard actor in the role. Jack Nicholson worked so well in CHINATOWN because of the crazy in his eyes. He's a rebel and audiences love rooting for the anti-establishment types. The film could have used an actor such as Tom Hardy or Ben Foster , both of whom are willing to go a little nutty. This film needed a lot more "live" and a little less "night".
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