The Place Beyond the Pines (R)

There’s a curiosity that accompanies seeing a movie that takes place where you live, none so poignant as how true to life that movie represents the place you call home. I’ve always felt “Good Will Hunting” represents the feeling of Boston well (having been there several times but never calling the place home), in the same way that Edward Burns’ “Sidewalks of New York” represents Manhattan better than a hundred star-studded rom coms could ever hope to. With Director Derek Cianfrance’s 2013 effort “The Place Beyond the Pines” – filmed in and around Schenectedy, NY (a mere 20 minutes from my home of Albany), we introduced to a bizarre and oftentimes captivating tale that feels more independent film than Hollywood production, looking at crime, corruption, small towns, and how far even the most seemingly vile will go to protect their own.

The star of the film is undoubtedly Ryan Gosling, whose Luke brings us a character we loathe but can’t help to root for. A stunt rider at a traveling carnival, Luke quits his job when he reconnects with an old flame, Romina (Eva Mendes), and finds out he has a young son he has never met. However, with no money  to support his son or compete with Romina’s boyfriend (Mayershala Ali), Luke takes to robbing banks with a newfound friend Robin (Ben Mendelsohn) in order to pay his way back into his son’s life. However, it isn’t long before his John Dillinger-like antics attract the attention of an aggressive rookie cop (Academy Award nominee Bradley Cooper), who is hot on his trail.

“The Place Beyond the Pines” is an actor-driven film, which is both its strongest asset and its weakest link. The film’s first act, centering on Luke’s bank-robbing escapades, his relationship with co-conspirator Robin, and his clear love of his son and Romina, is nothing short of powerful, made so by slow pacing and the exceptional acting that Gosling brings to the table. I’ve liked Gosling ever since “The Ides of March,” and here he paints a forlorn and almost hopeless character we sympathize with due to his dire circumstances and the ties of his low caste he tries all the wrong ways to shed.

Eva Mendes, known more for bigger budget (and more lighthearted) attempts such as 2005’s “Hitch” puts forth a performance here that is close to perfect. She pulls off the poor, working class mom raising a child from her former fling with ease, showing none of the confidence, sexuality, or poise that accompany many of her other roles. While it’s clear she’s a hardworking woman, she still harbors feelings for Luke and is drawn to him in an unhealthy but believable way. Additionally, the film’s decision to cast mostly television actor Mayershala Ali as Romina’s boyfriend grounds the film in reality, where a more dynamic actor would have threatened to pull audiences out of the story.

Criticism of “The Place Beyond the Pines,” unfortunately, comes during its second act, where the film tries to cram too much in, running an uphill battle in an attempt to include too many characters and too many twists. The story diverts from Luke, centering on Cooper’s cop Avery, exploring his home life with a wife (Rose Byrne) and baby of his own. In Avery, we see an impulsive man who often acts first and thinks later, much to the detriment of those in his life. Cooper here delivers an outstanding performance, and no flack can be given to him for not trying. Cooper is a good actor, and will certainly only get better with age…watching films like this or last year’s “Silver Linings Playbook,” you’d be hard pressed to even remember his sarcastic and vile “Stack” from the 2005 comedy “Wedding Crashers.”

However, while the first act sets up a powerful narrative, the second act seems to devolve into an almost “Departed”-type copy, trying to build a story of corruption, deceit, and cop-loyalty that threatens to derail the solid beginning set up by the film. However, in defense of “Pines,” a third act story tries hard to vindicate its confusing second act, showing Luke’s now grown up son Jason (Dane DeHann) as he crash collides with the reckless A.J. (Emory Cohen), the son of now District Attorney Avery. Cohen, seeming to exude Ben McKenzie (TV’s “OC”), is dynamic, pulling Jason to him in the same way Romina was pulled to Luke. The two develop first a friendship, and then a rivalry, leaving Jason to question his place in the world, his roots, and the seeming hidden truth about his father.

“The Place Beyond the Pines” is a good film, and, while suffering mildly from some pacing issues and being slightly over long (the film clocks in at 140 minutes), still manages to make a statement and stay on your mind long after you leave the theatre. Acting from all involved is exceptional, and even with the muddled second half offers a unique look into the lives of desperate people and the consequences of their half-thought actions. It’s bittersweet ending, scored by the haunting “The Wolves (Act 1 & 2)” by Indie folk artist Bon Iver is a perfect wrap up to a movie about searching for answers by taking chances.

The bottom line: If you like movies with good character development and acting, and can handle some slow pacing and wandering, “The Place Beyond the Pines” is unique and powerful film that might just surprise you.

– by Mark Ziobro