A historical television series that focuses on the impact of the Underground Railroad during the 19th century, "Underground" offers viewers a message of social progress that's just as relevant in 2017.
Nicholas Van Orton is a very wealthy San Francisco banker, but he is an absolute loner, even spending his birthday alone. In the year of his 48th birthday (the age his father committed ... See full summary »
Deborah Kara Unger,
In the late 1960s/early 1970s, a San Francisco cartoonist becomes an amateur detective obsessed with tracking down the Zodiac Killer, an unidentified individual who terrorizes Northern California with a killing spree.
Robert Downey Jr.,
A grief-stricken mother takes on the LAPD to her own detriment when it stubbornly tries to pass off an obvious impostor as her missing child, while also refusing to give up hope that she will find him one day.
In the summer of 1975 in a neighborhood in Boston, 3 kids, Dave Boyle and two of his friends, Jimmy and Sean, are playing on the sidewalk when Dave gets abducted by two men and endures several days of sexual abuse. Eventually, Dave escapes traumatized throughout adulthood. Jimmy is an ex-con and a father of three, whose daughter Katie, is found dead and Dave becomes the number one suspect. Sean is a homicide detective, investigating Katie's murder, ends up finding himself faced with past and present demons as more is uncovered about Katie's murder. Learning Katie had a boyfriend, ballistics later turn up a gun belonging to the father, which then puts her boyfriend as the suspect. Will Sean find out who killed Katie? Will Jimmy make it through the investigation? And will Dave ever find out what really happened when he was abducted? Written by
More than 2,000 people who wanted to be extras in the movie showed up at the Boston Teachers Union on 14 September 2002 for the open casting call. Carolyn Pickman of Collinge-Pickman Casting told The Boston Globe a week later that about two-thirds of those trying out would be called to fill a church and a local bar, play spectators at a parade, or walk through other scenes. All types of people from the greater Boston area (and as far away as New Hampshire) attended the call, where they waited in long lines to eventually hand in their applications and get their pictures taken. See more »
The angle of the Tobin bridge and the view of the Bunker Hill monument keeps switching the neighborhood from Chelsea to Charlestown many times throughout the movie See more »
Radio Announcer #1:
...before the end of the season last year, and then re-injured it in spring training on a terrific game-saving play. You know, I was talking with...
What time is this going on?
7:30 is the pre-game.
Who'd you say was pitching tonight?
Goddamn Cuban, man. He can hurl it.
I'd hate to be facing him.
See more »
The Warner Bros and Village Roadshow Logos at the beginning of the film, are not animated. They are both coloured Grey and stay in the middle of the screen. See more »
Let's say it straight away: before "Mystic River" (2003), Clint Eastwood's last works had left me a little unsatisfied; particularly "Blood Work" (2002), a watchable thriller with a certain charm but without great originality. But the following year, with "Mystic River", he made a sensational comeback and quite obviously this movie, which critically and commercially gave a boost to his career is his most accomplished since "Unforgiven" (1992).
By watching "Mystic River" one can feel that Clint Eastwood, more than ever put a lot of effort into the elaboration of his movie. From a subtle screenplay written by Brian Helgeland who shows that he is a far better scriptwriter than director (as far as I'm concerned, I hated the rather insipid "A Knight's Tale" 2001), Eastwood develops an absorbing and ingenious directing which contributes in weaving a shady and even stifling by moments atmosphere. On another extent, Eastwood takes back a way that had worked for him in "Blood Work": favoring calm and patience. And indeed, on an unhurried pace, the film-maker takes all his time to shot the evolution of this detective story. More important, he made this choice for another reason: to do a thorough psychological study of the three main characters. The basis of "Mystic River" consists in a classic detective investigation (nevertheless passionating in its construction) doubled with a relevant description of the three main protagonists.
To watch "Mystic River" is like to find oneself on the edge of a forest and to disappear into it. The more the movie progresses, the more we discover three heart-broken characters because they are linked by dark events. First, Jimmy Markum (Sean Penn). We learn that he has flirted with violence and has spent a few years in jail but he seems to have become a well-behaved man: he works in a grocery store and regularly goes to church. But the death of his daughter crushed him and he is determined to avenge her. Then, Sean Divine (Kevin Bacon) who appears as a reliable and lucid cop but whose private life is hell: he experienced a failed marriage and his wife keeps on harassing him day and night. At last, Dave Boyle (Tim Robbins), a broken father who underwent a deep traumatic experience (he was kidnapped and raped by two men who claimed to be priests). The consequences are terrible: he can't communicate anymore, he can't defend himself anymore and he wanders like a ghostly figure in the streets of his neighborhood. As a matter of fact, this traumatic scene is at the root of the three characters' misfortunes. Being the very first sequence of the movie, it sets the tone of Clint Eastwood's 24th movie. It presents Jimmy, Sean and Dave playing in a street. The sky is gray, the houses of the neighborhood are bare and austere. The ball which disappears through the manhole may symbolize the loss of childhood. Then, a big black car arrives. One of the men gets out and claims to be a priest (or does he?). He orders Dave to go into the car and the latter drives away. This moment will haunt the three boys for the rest of the lives and will deeply influence their personality. Roughly, "Mystic River" demonstrates in a conclusive way how such a past dramatic event can influence our present lives.
In virtually all the critics I have read, "Mystic River" was hailed for its cast. It's true that Penn, Bacon and Robbins rank among the best American actors of their generation and I think we will never thank Eastwood enough for having reunited them. By giving a lot of depth to their respective characters, one can feel that they were giving their all, which can explain why the movie was shot in a rather short time (39 days). They may even never battle their dazzling performances. And the rest of the cast is just as equal as the whole, especially the actresses whose female characters have an important role in the story since they influence (unconsciously or not) their husbands' actions and characters.
To a third degree, Eastwood's major work is also used to denounce the deceptive superficiality of the appearances, the omnipresence of violence and the credulity of many inhabitants. The film opens with an overview of the neighborhood but doesn't show yet that it is devastated by violence. No matter what the time is. Violence is omnipresence and the fact that it touches younger generations proves that it isn't ready to subside.
At last, let's also congratulate Eastwood for the remarkable music he has signed himself with his son. With this music, simplicity rhymes with efficiency. One has just to listen to a few notes to feel an intense emotion inside us.
In the middle of all these qualities, there are just minor faults. So, Bacon is a tormented cop due to his disastrous marriage and however, we really don't know what went wrong with his wife. Is it Dave's kidnapping? Is it his trying job? This point remains ambiguous. Ambiguous is also the adjective that suits the best to qualify the end of the film. What can mean the gesture Bacon makes to Penn? But these two points let freely the way to any possible interpretation.
The contribution of the crew in Eastwood's work is total and so is my enthusiasm for "Mystic River". If you haven't seen it yet, go and watch it. You won't regret it. At the age of 73 years old, "grandad" Clint Eastwood is still in great form and given the recent triumph of "Million Dollar Baby" (2004), he seems to have decided to bring the house down again in the landscape of American cinema for our greatest pleasure.
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