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Classical themes–of fate and fatherhood, ambition and inheritance, revenge and regret–lie at the heart of The Place Beyond The Pines, Derek Cianfranceu2019s marathon crime drama about three generations of mid-tier American life. Ryan Gosling brings his trademark mythic cool to the central role of u2018Handsome Lukeu2019 Glanton, a drifting stunt-bike rider who rolls into town only to lose Eva Mendes and his young son to a steady middleclass breadwinner. Tortured by male instinct, Luke puts his biking skills to work in a string of bank heists, raising enough cash to skip town in search of a better life for his family. In his way is Avery Cross (Bradley Cooper), a straight-arrow cop whose sympathies for Goslingu2019s right to fatherhood are a wellspring of his own parental guilt. Fate is a plague on both their houses: Luke and Avery are prisoners of their inheritance, and are in turn the defining force in their sonsu2019 destinies, which–after an innocent adolescent friendship–separate explosively along family lines. The rival sides are neatly backlit by the town of Schenectady–a fading photograph of late-night diners, white churches and leafy graveyards, and whose translated Mowhawk name gives the film its title. Itu2019s a small stage for an epic drama, with nowhere for Averyu2019s political ambition and Lukeu2019s local celebrity to co-exist peacefully in the present or in the past. Male introspection and bruised machismo comes easily to Gosling and Cooper, and–with crackling support from Ray Liotta, Ben Mendelsohn and Emory Cohen–The Place Beyond The Pines is both a heavyweight crime thriller and a postcard from small-town America in all its pain and beauty.






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