Мистик Ривер: Драматик Клинт Иствуда

2003 American drama film directed by Clint Eastwood

Principal photography took place on location in Boston.

On Rotten Tomatoes, the film has an approval rating of 89% based on 204 reviews, with an average rating of 7.80/10. The site's critics consensus reads: "Anchored by the exceptional acting of its strong cast, Mystic River is a somber drama that unfolds in layers and conveys the tragedy of its story with visceral power." On Metacritic, the film has a weighted average score of 84 out of 100, based on reviews from 42 critics, indicating "universal acclaim". Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale. Peter Travers of Rolling Stone wrote "Clint Eastwood pours everything he knows about directing into Mystic River. His film sneaks up, messes with your head, and then floors you. You can't shake it. It's that haunting, that hypnotic." On September 8, 2003, David Edelstein wrote a long article for The New York Times with the headline: "Dirty Harry Wants to Say He's Sorry (Again)." The piece examines Mystic River in the context of Eastwood's entire oeuvre, praising his “evolution [into] cinema's [ ] sorrowful conscience”. Reviewing the film for The New York Times on October 3, 2003, A. O. Scott wrote a long review of this "mighty" work, at one point observing: "Dave's abduction is an act of inexplicable, almost metaphysical evil, and this story of guilt, grief and vengeance grows out of it like a mass of dark weeds. At its starkest, the film, like the novel by Dennis Lehane on which it is based, is a parable of incurable trauma, in which violence begets more violence and the primal violation of innocence can never be set right. Mystic River is the rare American movie that aspires to—and achieves—the full weight and darkness of tragedy." On October 12, 2003, The New York Times A. O. Scott wrote a piece headlined "Ms. Macbeth and her cousin: The women of Mystic River" which he opened with: "One of the most haunting scenes in Clint Eastwood's Mystic River—a film that consists almost entirely of haunting scenes—comes just before the end. The main dramatic action, we have every reason to suspect, is complete A long, climactic night of revelation and confrontation is over, and the weary streets of Boston are flooded with hard autumnal light. The break of day brings a new insight, one that has less to do with the facts of the story than with its meaning. All along, Mystic River has seemed, most obviously, to be about those three men But it turns out to be just as much about three (or more) damaged families, about the terror and mystery of marriage and about the fateful actions of two women." In the New York Times, on June 8, 2004, anticipating the DVD and CD release, Dave Kehr praised the film as "a symphonic study in contrasting voices and values. Long fascinated by music as a subject, Mr. Eastwood here creates a genuinely musical style, using his performers like soloists, from Mr. Robbins's moody baritone to Mr. Penn's spiky soprano. Their individual arias are incorporated into a magnificent choral piece".