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TIFF Review: ‘The Place Beyond The Pines’ A Searing Tale Of Fathers, Sons & The Legacy Of Sins

TIFF Review: 'The Place Beyond The Pines' A Searing Tale Of Fathers, Sons & The Legacy Of Sins

Of all the films arriving at TIFF this year, few are premiering under such an air of mystery as Derek Cianfrance‘s “The Place Beyond The Pines.” With only a couple of official images, but no posters or trailers, the tone and scope of the movie remained under wraps. Following “Blue Valentine,” would the film be a similarly intimate and narrowly focused story or something completely different? The answer is that “The Place Beyond The Pines” is an ambitious epic that is cut from some of the same thematic tissue as Cianfrance’s previous film, but expands the scope into a wondrously widescreen tale of fathers, sons and the legacy of sins that are passed down through the generations.

Cianfrance opens the film with a bravura tracking shot, following Ryan Gosling‘s Luke from behind, Dardennes Brothers style, as he walks through a carnival in upstate in New York, eventually arriving at the main event. He leads a group of stunt drivers that motorcycle daredevil style in an enclosed circular metal cage at top speed, as they defy death by narrowly keeping from crashing into each other. His plethora of tattoos on nearly every part of body indicate a past of pain and trouble, and his job is one that means he’s always on the move. But things change when he learns his fling with waitress Romina (Eva Mendes) the previous year when he was last through town, has resulted in a son. 

While his life up until this point may be dishonorable, lonely and unsteady, Luke is determined to do the reputable thing and contribute to the support of his child, despite the obstacles in his way. Romina is living with another man, and a stunt driver has little employment options outside of minimum wage gigs. Luke makes friends with the similarly shady Robin (Ben Mendelsohn from “Animal Kingdom” and “The Dark Knight Rises“) who runs an auto body shop…and also happens to be a former bank robber. It isn’t long before the pair decide to team on this illegal, but very well paying job, but Luke’s path puts him right on a collision course with Avery (Bradley Cooper), a local cop.

And that’s all we can tell you about the plot because a major narrative twist at the end first act is best left unspoiled, but this shift raises the stakes and reorients the story so dramatically that ‘Pines’ begins to take on a scale few films attempt, let alone achieve. In some ways, one could look at ‘Pines’ as a spiritual sequel to “Blue Valentine.” If the latter film chronicled in raw, intimate detail the fracture of a relationship, it’s in ‘Pines’ that Cianfrance follows what the fallout would be. This is a film that is very much about how the actions of the father, directly and indirectly pass on to the son. Or how the fissures and mistakes of the previous generation, have ramifications both practical and emotional months, years and decades later.

There will be some who will tilt the film and viewing it from another angle, it could be regarded as an allegory for the moral turpitude that has shaken the American dream. At one point, Avery reflects that when he was in law school, justice was viewed as a concept that was discussed, not as a tangible right. And only by becoming a cop, could he actually ensure justice was carried out, although it was by force. But as we learn, Avery and Luke are both morally compromised, even as they try to do with the right thing in both their lives. But what is undeniable is that while Luke is clearly breaking the law, the fallout from Avery’s ethically dubious actions hits those hard on the social and financial rung below him. And that unfairness is not only unforgotten, but festers and boils beneath the surface.

All of these elements — working class struggle, familial and generational discord, the relationship (or lack thereof) between fathers and sons — builds tremendously into a film that feels like it has shades of classic Italian melodramas put through the lens of a distinctly American film. No surprise then that the score and soundtrack veers from Arvo Part to new music from Mike Patton to the electronic crunch of Amon Tobin and still feels of a whole. It’s part of a grand production tapestry that elevates this picture to another dimension.

And then there’s the cinematography by Steve McQueen‘s frequent collaborator Sean Bobbitt who has worked on all his films. Capturing the feel of small town Schenectady, while also opening up and providing breathtaking, beautiful vistas of New York state countryside, it visually helps ‘Pines’ establish itself as a film of big ideas and vision. That the film is strongly acted across the board, the final pieces in helping Cianfrance deliver his first grand opus, is almost an afterthought. Gosling, Cooper, Mendes and Mendelsohn all do terrific work (the latter continuing to astonish at how easily he can shapeshift into roles). But we’d be remiss in not giving kudos to both Dane DeHaan and Emory Cohen who arrive at a key juncture and deliver with some astonishing work. The latter in particular a true revelation.

With “The Place Beyond The Pines” Derek Cianfrance has now placed himself in the canon of great, contemporary American filmmakers like James Gray, Paul Thomas Anderson and the Coen Brothers. This is a film that desires to say something about how we relate to each other, and how the often overlooked consequences of our actions can refract down avenues we could never expect. A brilliant, towering picture, “The Place Beyond The Pines” is a cinematic accomplishment of extraordinary grace and insight. [A]

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Kevin Jagernauth is seriously just the worst WORST critic. I'm sorry, but someone needs to take his keyboard away please. What a douche!


First footage from the film:


"And that's all we can tell you about the plot because a major narrative twist at the end first act is best left unspoiled"

By saying that you've just spoiled the plot twist. Thanks. Do you really believe we're stupid enough not to understand what you've just hinted at? Goddamn, you know this isn't even the first article to make this stupid mistake. Why can't you people just say it was good and speak about its strong points? Fuck me. For the love of god, edit your article so as to not spoil the next poor bloke who has the misfortune of reading it.

And for all you morons answering the question whether or not a certain actor is in it for a long time or not AKA: Fenny, shut your mouth, your response combined with Kevin's review DEFINITELY gives away the twist. God, you people are so ridiculous.


Can we really take Kevin's review seriously? He's so obsessed with and biased towards Ryan Gosling, I'm pretty sure he has his own shrine dedicated to Gosling at this point. He's always ridiculously hyperbolic and never critical towards anything involving him.


My cousin almost got the role that went to Dane DeHaan so I know about this major "plot twist"… A lot of fangirls won't be happy. The script was really good though. Great material all around for all actors…

It's hard for me to imagine how this kind of film would place Cismfrance in the same league as PT but I havnt seen the film … You're praise definitely has me excited to see what he came up with.


Word of warning to anyone interested in this movie, don't read the Variety review, he gives away the plot twist and it's a huge one..What's with that!?

pia k

Derek is a very talented filmmaker and this film sounds really exciting, but Paul Thomas Anderson? Really?

Grade this and see if i care.

Oohhh you film critics/reviewers/bloggers and your grading film report card…. What a motherfuckingGOD! The real MASTER of this entertainment universe.




Bases on your experience, do you think there will be Oscarnominations for this movie? If so, who and for what?


To Kevin: How would you describe its visual style? Is it different than the hyper realistic, grtity style of Blue Valentine? Could you compare it to another visually similar film? And can you compare it to any similar crime films in terms of tone and style?


"Derek Cianfrance has now placed himself in the canon of great, contemporary American filmmakers like James Gray, Paul Thomas Anderson and the Coen Brothers." I know you're excited, but please calm down. Good review, though. Sounds like a good movie.


Amon Tobin? I'm there.


If I wasn't a fan of Blue Valentine, will I still like this or should I skip it?


Sounds like it could be fantastic. I really liked Blue Valentine so I'm definitely interested in what he'll do with this. I remember, a couple of months ago, the filmmakers described it as The Deer Hunter meets The Godfather, so naturally I was very curious to see how this would turn out. Gosling is easily my favorite young actor working right now so the fact that he's in it only sweetens the pot. This is definitely a film I will have to avoid all trailers for, as it doesn't sound like a film you want to have spoiled before you see it. I'm tempted to just let this review be the last thing I read about it. I hope this finds a distributor soon and gets put into theaters before 2013. We already lost Only God Forgives to 2013, I really don't want to lose this one too.


Wait so are Gosling and Cooper the main characters or Gosling and Mehndelson?


Wow everything about this sounds fucking awesome, can't wait to see it. I trust you guys that it's as good as you say it is, this one seemed to have a lot going for it right from the get go. Also on a side note I always hate it when people complain about grammar in the comments section but seriously this one was bad, just proofread that shit, even just a cursory proofread… Ok nit picking over with


Excited for this but what about the female roles? Review barely mentioned the female roles or performances. Films like this sometimes tend to sideline the women characters. Is that the case here?


No mention of Rose Byrne?? Also, how is Cianfrance in PTA's league?


I love Cianfrance + Gosling but no way this is graded higher than THE MASTER.


so much good at festivals lately. does this have a hard date to hit cinemas?


Wow Emory Cohen is a revelation? He sucks so much on "Smash". But hey I guess the material made the difference

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