Ben Affleck calls the shots in THE TOWN

Quentin Tarantino once said about making his first film, Reservoir Dogs (1992), that it’s safer to work in a subgenre, like a heist film, than to tackle a broad genre, such as horror, comedy, crime, or western. A heist film is a subgenre of the crime genre. Other subgenres would include mobster films, screwball comedies, and slasher films. Basically, it’s a genre that’s a little more concentrated than what a thriller or a comedy would offer. That is exactly what Ben Affleck, the co-writer, director, and star of The Town utilizes here. I’d have to say, nobody can paint the small hoods of Boston better than someone who grew up there. Sure, The Town lacks the cerebral narrative construction of Reservoir Dogs and the extensive character development of Michael Mann’s Heat (1995), but Affleck’s The Town delivers the goods, bottom line. After I walked out of the theater I wasn’t sure if this film was worthy of three stars or an extra half a star, just for relentless entertainment. By the time you finish reading this review, you’ll notice my answer at the very bottom. Ben Affleck plays Doug MacRay, an ex-con and bank thief, part of a tight crew of criminal misfits, growing up in Charleston, a close-knit town, most likely on the grubby side of Boston. The gang of thieves is under tight scrutiny by FBI agent, Adam Farley, played by Mad Men’s Jon Hamm. His best friend growing up and trusted partner-in-crime, James Coughlin, is a trigger-happy cowboy played by the Oscar-nominated actor, Jeremy Renner. I really hope that Renner doesn’t get typecast as these macho, adrenaline-seeking characters, but what can I say, he’s got the perfect look, build, and edgy attitude to deliver these kinds of action performances. I just think that after The Hurt Locker (2009) he should explore more intimate and in-depth portrayals. The opening robbery jumpstarts the film into overdrive and the energy never lets up. The errors of the bank heist call for extreme measures; it involves a hostage situation where the gang kidnaps the bank manager, Claire, played by Rebecca Hall. Who would’ve thought that the victim would lead to a love affair with one of the robbers? Affleck’s character eventually falls for Claire, and after foreseeing his inevitable downfall as a criminal, he tries to find a way to turn his life around. Like most criminal characters, escaping a dangerous lifestyle leads to stepping on others’ toes. The Town is an entertaining heist film mixed with the authentic flavor of the Boston hoods. Affleck’s directorial achievement is well-done, well-executed, well-acted, and contains one terrific set-piece after another. My only problem with The Town is that I’ve seen this type of heist film before, specifically with Heat, which I think, is one of the best heist films ever made, next to The Asphalt Jungle (1950). The Town covers the same grounds as Heat, except there are fewer dots to connect in the plot. 125 minutes flies by incredibly quickly, like a shot of adrenaline pumping through the plot in a swift pace. However, I could sense the beginning action sequence before the credits appear, and pictured the resolution before the grand slam finale started rolling. Besides the predictable nature of the plot, this is pure entertainment. The excitement and array of flawless performances make up for what I’ve already seen in similar heist films. I remember reading the promotional reviews for The Town on the newspaper ad, and a critic said, “It’s Heat meets The Departed.” Well, those of you who’ve seen Heat will certainly notice the similarities, but just because The Town takes place at the same location as The Departed (2006), doesn’t mean you’re going to walk into the same cinematic experience. I need to make this perfectly clear; Boston, LA, New York—it doesn’t matter the location, The Departed takes place in Martin Scorsese’s universe and no one else’s. Sure, somebody else wrote the sensational cop-and-gangster drama, but once Scorsese gets involved, it transforms into his own directorial vision. I can’t say that Ben Affleck has established himself as an auteur director. There isn’t a distinct taste that says I’m walking into a Ben Affleck film and no one else’s. Perhaps down the road he’ll achieve what other prominent actor-turned-directors have accomplished, specifically Clint Eastwood (Mystic River, Unforgiven), Sean Penn (Into the Wild), and Ron Howard (Frost/Nixon, A Beautiful Mind). Let’s not forget that Play Misty for Me (1971) was Eastwood’s first directorial effort, and it took him almost twenty years until he could shine as a gifted talent in Unforgiven (1992). Affleck’s first foray in the director chair, Gone Baby Gone (2007), was a milestone more ambitious than Play Misty For Me, and who knows, maybe in less than twenty years he’ll bloom into a gifted auteur. Widely-receptive and hardworking actors spend a plethora of time on the film set, working with a variety of talented directors. I think it’s safe to say that actors have some of the best training in filmmaking. Ben Affleck has already received an Oscar for screenwriting (Goodwill Hunting), maybe directing will be his next statue. With that in mind, Affleck does an overall, excellent job at co-writing, directing, and acting in this action-packed heist drama. Box office receipts are in line with the critical response—don’t miss it! ***1/2 (out of four stars)