Sorry, this movie sucks

Admirable film.

A bit overrated, but still an amazing film

Close shines in drama with strong language, adult themes.

Skip this disaster and just read Dennis Lehane's novel, because a substantial portion of this film is just Affleck reading it to you via voice-over narration while random shots spill by in the background; the film at times even bypasses interesting plot threads and resolutions with a speedy narrative wrap-up. It fails on the most basic of levels, that being that of an actual film that tells its story by showing, not telling. Anything that could remotely be praised about this heap of trash is wiped away by the fact that Affleck reads. At the audience. For the entire film. Avoid, avoid, avoid, avoid.

The first massive misfire from Affleck, all this talk of Oscar buzz hindered its chances of being anything other than an incoherent mess. It wasn't even a narrow misfire, he strayed so far away from the target that he obliterated Prohibition gangster films along the way. The son of a superintendent decides to walk the life of a mobster when he is unable to resist the uncontrollable urge to steal money from a powerful outlaw. His lover is presumed dead, he moves away, some other characters are introduced, Christianity and repenting sins is forced in...oh, and there's the KKK...wait, he wants to build a giant casino? Why is Brendan Gleeson not in this more? Why are all the characters sidelined? Where is the excitement!? Aside from the gripping introductory car chase and final shootout, this is nothing more than pretentious melodrama which should've been titled 'The Ben Affleck Show: Prohibit Prohibition'. I'm fine with Affleck garnering all of the screen time, especially given his previous directing efforts 'The Town' and 'Argo'. But not when he is this boring! He looks like he couldn't even be bothered as he awkwardly smiles all the way through hunched over like a human wall. When you have rising talents like Miller, Fanning and Saldana, don't waste them. They all gave captivating performances yet each had five minutes to showcase their acting range. None of the supporting characters were developed and were there as a means to accompany Affleck on his quest for money and redemption. I felt no emotional attachment towards any of them. The story was utterly tedious as it's paced slower than a 1920's automobile. For an overstuffed plot, I'm surprised that nothing really happens. I will say that the Prohibition-era production design was authentic and the accompanying visual style was glamorously glossy. Just unfortunate that every other element was glossed over. Long, dull and boring. I've nearly forgotten about this already. I can only hope Affleck comes back from this, which I'm sure has hit him hard...

'Live By Night' (FYI, "live" as in 'liv', not 'lie-ve' - "sleep by day, live by night") is the fourth film Ben Affleck's directed (after 'Gone Baby Gone', 'The Town' and 'Argo'), and sadly it's my least favourite of his. That's not to say it's bad, since he's a better director than he is an actor, but that's where the problem lies - it's quite hard to truly warm to his character, Joe, in this. I wish he'd cast other people as leads, like in 'Gone Baby Gone'. It's set in 1920's prohibition-era Boston (where else), but he eventually relocates to Tampa, Florida, to run the rum trade for the Italian gang.The start's OK, but needed more of his father (Gleeson), as he gets caught between the Irish and Italian mobs. Joe meets Graciela (Salanda) in Tampa and falls in love and has to put up with the KKK calling him and her all sorts of things, but that's eventually sorted - the film doesn't really delve too much into the racial implications of things. Joe & Dion (Messina), his trusty off-sider, meet the police Chief (Cooper) and his daughter, Loretta (Fanning), which has implications later on. The main plot centres on Joe & Dion trying to branch into the gambling/casino business and the hurdles they face. There's a tale of vengeance in there, plus a cautionary tale of not losing yourself while trying to be someone you're not and all the while you still feel a little bit of "why do I care?" There are some great fly-over scenery/sunset shots in Florida, and a decent ending, but it all feels a bit too dragged out (130min, when it could've easily wrapped up after 105min) with no real connection or purpose made. The set design and cars are certainly cool and of the era, but the shootouts never seem enough or to have enough at stake.

The film is a biography of a fictional character, Joseph Coughlin, which means Ben Affleck is on the screen in nearly every scene. Joe is the son of a Boston policeman (Brendan Gleeson) but lives as a criminal or "outlaw" as he dryly narrates because he thinks we can't see what is happening on the screen. Boston is divided between the Italians and the Irish during prohibition. Joseph wants to abscond with the girlfriend (Sienna Miller) of Irish boss Albert White (Robert Glenister). His plan fails and he eventually finds himself in Tampa, securing rum and opening clubs for the Italians, making new alliances and enemies.The film is like two films in one. The first part is Joseph in Boston and the second part is Joe in Tampa. Ben Affleck played a cold unemotional line reader, perhaps by design, but not very entertaining. It was interesting to watch all the pieces of the puzzle of illegal rum distribution come into place, but they could have created characters that were not so cardboard. Zoe Saldana plays a Black Cuban. Elle Fanning has a small role toward the end.Guide: F-word. Sex. No nudity