Review of The Place Beyond the Pines (2013) by Joanna B — 24 Oct 2016

As is the complaint of a number of Game of Thrones viewers, it is not easy to access (nor review) a complexly layered story where the acts are not formulaic and merely intersect for moments at a time. The Place Beyond The Pines is a shining example of this as the story progresses at an unusual pace, pivitol characters drop from frame to be replaced with what seems like sidesteps, but once explored shed light on the ramifications of the earlier actions.

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.