Eastwood and Helgeland need a crash-course in mystery fiction. In all fairness, the “whodunit” is less obvious than it was in Blood Work, though it’s becoming only more obvious that Messrs. What Eastwood has not made is the exact same thing that eluded him with Blood Work (also scripted by Brian Helgeland) - a convincing or successful whodunit.īy the time you arrive at Mystic River‘s “shocking” revelation of the killer, it’s hard to be shocked - you pretty much knew it four reels earlier. He’s also made a film that’s about as far afield in its examination of the ramifications of the Dirty Harry “shoot now and don’t bother asking questions ever” mindset as possible. With Mystic River, Eastwood has made a long (137 minutes), expansive, deeply serious movie without a single explosion or a jumble of rapid edits. It’s very well made, which is no surprise coming from Clint Eastwood (who continues - even after the box-office disappointment of Blood Work - to craft films his way, making no effort to be trendy, hip or overly concerned with demographics). Mystic River contains some great performances, plus a lot of mood and atmosphere.
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