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I felt that the film seemed a bit lacking in direction by one point but then the plot pace increased when the court case was suddenly brought back. There are some nice camera shots, with outside scenes having an autumnal look/feel to them. The scenes between Joe and Bertie are also quite good, as they challenge each other somewhat and provide an insight in to the past. The scenes between Joe and his late fiancee parents, but particularly the father, Ben, are especially poignant - both of them struggle to show emotion and come to terms with their predicament but the more they spend time together, the more similarities I suppose we realise they have. I found myself rooting for him and hoping that the wounds that had been caused by the tragedy, could somehow be healed or that if not, at least by the end of the film that Joe would have a clearer idea of what he wants in the future, of where he's heading and so on. Some of the dialogue is quite poignant and there are some very emotional scenes.
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He is quite an introvert but we see through different scenes, the impact the tragedy has had on not only him but those he lives with, his parents and so on. I thought the script was good, as I felt the characters he interacted with all brought out different elements of him and helped me as the viewer to get a better idea of where he was coming from, of his background and so on.
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The story is obviously quite sad and the main character, Joe, is quite a raw character - an adolescent who is clearly quite confused, lost and probably someone other adolescents can relate to, being faced with a very difficult, bleak situation at such a young age. This is very much a character driven film and its very dialogue heavy, with a strong use of music to back up the emotional tone of each scene.
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Lehane is not too shy to use his characters to tackle some real ethical questions, and it’s hard not to consider them yourself while reading.This review contains spoilers, click expand to view. It’s a compelling book, and while it wasn’t maybe not quite as good as Gone, Baby, Gone, it was still superior to most of the detective fiction I’ve read. Amanda has gone missing again, and her aunt believes Kenzie owes the family to at least try to find her again. Kenzie is confronted by Amanda’s aunt, who called in the original case without knowing that her husband was the kidnapper. Kenzie and Gennaro are married with a little girl, and struggling to make ends meet taking PI jobs that are of a safer, more family-friendly variety. Moonlight Mile is number six, and takes place 10 years later. I can’t really remember the plot of the fifth book, but Kenzie and Gennaro get back together. The uncle went to jail, lives were ruined, and Patrick lost his girlfriend/partner. Patrick Kenzie made the decision to do the “right” thing and return Amanda to her real mother. In the end, it turns out that Amanda was “kidnapped” by her uncle and given to a family to raise her, since Amanda’s mother was a drugged out piece of shit. In it, the PIs are called in to investigate the disappearance of a four year old named Amanda McCready. I may reread my collection just for a chance to review them for CBR).
#MOONLIGHT MILE SERIES#
Gone, Baby, Gone was Lehane’s fourth installment in the Kenzie/Gennaro series (quick aside: everything I’ve ever read by Lehane has been golden. If you haven’t read Gone, Baby, Gone, or seen the fabulous cinematic adaptation, I’m about to spoil the ending, so back off. So here’s a slightly different take on the PI lifestyle - Kenzie and Gennaro are quite a bit different than Izzy and the Spellmans.