The Place Beyond The Pines Reviews
Three different story's with one common through line... going from good, to bad, to Just plain stupid.
OK, but it really didn't need 2.5 hours to tell that. Lots, of wasted time and scenes. :(
The reasons for Romina's visit are baffling. She does not seem madly in love with one night stand Luke, she has a new boyfriend named Kofi and they live in his house. She does not even inform Luke about the baby, but just asks for a ride home. Smelling a rat, Luke goes back to her home the next day to find grandmother holding the baby.
Luke is the standard Gosling's character: inarticulate, dumb, asocial. He has no money, but insists to support the baby, even if nobody asked for it. So Luke starts robbing banks to be able to throw cash at Romina and their baby. One day Luke invades Kofi's house, allegedly to assemble a crib for the baby and during the proceedings he manages to anger Romina, scare the baby and smash Kofi's face.
Bailed from jail, where he rightly ended, and advised to keep a low profile, Luke decides the time is ripe for another bank robbery. End of part one and enough to put me off.
We are supposed to sympathize with the selfish and idiotic character of Luke, just because he is a father. It seemed more like he wanted to impose his presence where nobody wanted or needed him. Except that Romina dragged Luke in again, after the two of them ignored each other for a year, so maybe she wanted him, but not really.... whatever.
Part two is shorter and about Avery, the cop (also a father) who stops Luke and part three takes place 15 years later, when Luke and Avery's sons meet and collide. Neither Avery's or Luke's sons are particularly sympathetic, but they should be excused for being brats because they have daddy issues. Anyway, by the time the appear on the scene I had enough of the whole story.
The moral of the movie could be that fathers should be excused for robbing banks because they must provide for their children or that robbing banks is OK because the police is corrupted or that kids have the right to be obnoxious drug addicts because their fathers neglected them.
the true bad persons use you and when your done with
(so long) with a little twist and a good heart person says I'm sorry which makes all the difference to will come: only your family grief and no one cares
It hurt to see this
But at the same time it is a must-see I will not forget
10 stars in my book
More than 5 stars
Ryan Gosling and Bradley Cooper are superb as is the rest of the cast
Debra Reece Simons
Consequently, this sort of film is sent to try critics. With the shadow of exploring plot detail leaving us open to inadvertently revealing the filmmakers intentions and genuinely spoiling the experience, we are left pondering how to entice without explaination.
When motorcycle stunt rider Luke (Ryan Gosling) learns he has a baby son with a year-old fling Romina (Eva Mendez), he leaves the travelling circus to stay and try to provide for his family. Having already moved on, Romina who is now living with devoted step-father Kofi (Mahershala Ali) is stuck between the man she loves and the one she shares a life with.
After a chance encounter with outcast mechanic and ex-bank robber Robin (Ben Mendelsohn), Luke decides Robin's plans of utilizing their uniquely matched skillset for a series of heists is worth the risk to raise the required money for 'fatherhood'.
To this disappointment of his judge father, new dad Avery Cross (Bradley Cooper) quits the family business of law to join the police force where he believes he can 'make a difference'. But after a rookie mistake, he quickly becomes disillusioned and a combination of police corruption and personal guilt test his moral compass.
Outwardly heroic whilst inwardly cowardly, Avery reluctantly takes his father's council; making a dramatic cocktail of decisions that will change lives and have consequences well into the next generation.
Utilising his cinematic signature techniques of a tracking-camera following a character and the use of extreme close ups, Filmmaker Derek Cianfrance portrays the provocative hard-hitting theme with eloquence, if occasionally longwinded. The opening lengthy single-shot is a stunner and the bike chase sequences are thrilling.
A beefed up and extensively faked tattooed Gosling is bewitchingly remarkable as the contradictory Luke, sharing palpable chemistry with dramatic firecracker Mendez who finally gets a role in which she is more than acting eye-candy. Charismatic Cooper adds another powerful stepping-stone to the pile in his build up to greatness, whilst Aussies Mendelsohn and Rose Byrne (As Avery Cross' wife) add a vivid candor to their roles.
As the second generation to the film, Emory Cohen (Avery's troubled teen, AJ) plays unlikeable well, while Dane DeHaan's (Luke's boy, Jason) expressive features proves he is a face to watch for the future, think 1993's What's eating Gilbert Grape.
The Verdict: As the weaving narrative depicts the highs and lows of similarly angst-ridden lives and their flawed relationships, it raises issues of loyalty, honesty and belonging to which anyone can relate.
Published: The Queanbeyan Age
Date of Publication: 17/05/2013
Terrific performances from Ryan Gosling, Bradley Cooper and Eva Medes give this movie that etra quality to make a step ahead.
Three different stories told from three different perspectives, all feeding into the film's core theme - legacy.
Director, Derek Cianfrance, is the current Hollywood champion of cinéma-vérité. He manages to draw spell-binding performances out of most of the core cast. And all the characters had struggles that pulled me in.
My biggest critique for the film is it's unique selling point - the three stories from perspectives. It's a real challenge to get us to feel for a new lead character when we move on from the one we had just started to really feel for, and with no warning - this is the most jarring aspect of the film.
I also think that the cinematography didn't do as well as it could have in assisting the style of the film. The handheld elements always felt more true to the tone, and the constant flicking between handheld scenes and locked-off scene proved to be unnerving.
- Structure (because of its uniqueness).
- Structure (because of its uniqueness).