'MANCHESTER BY THE SEA' - REVIEW

Release Date: Friday the 13th of January (UK Release)

Directed By: Kenneth Lonergan

Written By: Kenneth Lonergan
Produced By Matt Damon, John Krasinski and Kimberly Steward

Starring: Casey Affleck, Lucas Hedges, Kyle Chandler, Michelle Williams and C.J Wilson

Distributed By: Roadside Attractions and Amazon Studios

It’s rare nowadays in the age of saturated superhero smackdowns, faded franchise fodder and hollow, hollywood horror to even think of a film actually making you feel something beyond a sharp intake of breathe when the speakers are turned up to eleven. With Kenneth Lonergan’s ‘Manchester By the Sea’, getting up out of the seat kicked me back into the real world and away from the intense two and a quarter hours I had just experienced. 

Set in the titular town, the story follows Lee Chandler (Affleck) as he is made to move away from his menial janitorial work in Boston to look after his nephew Patrick (Hedges) after his brother Joe (Chandler) passes away. At first uneasy at being back in his hometown, Lee must let go of his past demons in order to become not only a better guardian and uncle, but also a better man for it. 

As is common around this time of year, a lot of the films considered for awards contention carry with them hefty themes of guilt, tragedy and the cost of a conscience. Whilst Lonergan’s third feature is no exception, what sets it aside from the usual ‘Oscar Bait’ its its sense of blistering realness contained within every scene that really makes this piece fly  well above the likes of a feature starring an almost forgotten actor plying for a renaissance.  

At the heart of this study of isolation and repression is Casey Affleck’s Lee. Whilst an actor who has never put in a poor performance, it is clear that here the distinct subtlety and physical ticks performed make for a truly powerhouse performance which stands as something of a masterclass in physical acting and will surely be a performance aspiring actors will wish to study in the future. When we are introduced to Lee, his repetitively demeaning life as a janitor is made abundantly clear as well as his lack of communication to the numerous tenants, a man reduced to picking fights in bars, usually never winning and almost just existing. Come the second and third act however, Affleck’s subtlety’s are perfectly understood and empathised with completely as his deeply troubled past is highlighted and plays out in a serious of juxtaposing flashbacks working to great effect. As the timeline progresses both back and forth where necessary, Affleck’s Lee displays great range in almost all areas, displaying roguish charm, unimaginable lament and eventual sobering heartbreak. Destined for Best Actor nominations across the board (if not wins), Affleck’s incredibly focused and almost pity extracting performance of a broken man striving to find something in the place harbouring so much heartache.

Whilst this is very much Affleck’s film through and through, that is not to say the supporting performances are lacklustre, very much the opposite if anything forming a ring of the strongest casts since the likes of Todd McCarthy’s ‘Spotlight’. Whilst the marketing for the film may present this as a love story between Lee and his ex wife Randi (Williams), their dynamic is in retrospect, smattered in-between the primary narrative but still wonderfully realised with palpable chemistry supported by an equally strong performance by Michele Williams as the sometimes foul mouthed, but at times incredibly fragile soul. 

Praise is also due to Lucas Hedges’ Patrick, the reasoning for Lee’s necessary move who’s portrayal of a child who has lost their way making for numerous scenes which will find you laughing at the familiarity in one moment, to tear jerking vulnerability in the next. The dynamic made between Affleck and Hedges allows for sparkling moments of hilarity as the bond between Nephew and Uncle is laid in its various forms, indeed drawing Lee out of his previously sealed shell and extracting a sense of humanity to the damaged character. Also weaved throughout this brutally real narrative, are the underpinnings of dark comedy played at numerous points at unexpected moments, strengthening the sense of humanity. One particular moment being the reveal of a family learning of a medical trauma, in which real drama is highlighted with deadpan hilarity.

Adding to this is Jody Lee Lipes' stunning cinematography, in one sequence capturing the crisp chill of snowy Boston, the next the fresh spray of the North Atlantic. The varying shades of icy blue with gracefully natural shots of nature and the New England streets giving a real sense of the working class lifestyle and close knit communities synonymous with fishing villages and towns. 

Whilst the performances and visuals make for truly transfixing watching, there are moments of jarring drawbacks which are merely artistic choices yet still result in withdrawal from fully immersing the viewer in the scenes in particular. These choices are highlighted in musical cues and the length at which they are used in a particularly essential scene with Affleck at the helm. The runtime of the utilised score serves in unintentionally toning down Affleck’s performance in a scene in which pure silence may have served it better.

Minor gripe aside, ‘Manchester By the Sea’ serves as a new benchmark in physical acting as well as proving Casey Affleck to be in many ways more of a character actor than his bigger Batman brother who’s last three films have seen menial rewards in terms of acting. Beautifully shot, performed, written and scored, Lonergan has delivered a film which displays an awards worthy actor with the necessary omission of an angsty, shouty performance and an incredibly true and realistic interpretation of bereavement and isolation.

“If you’re going to freak out every time you see a frozen chicken, I think we should go to hospital.” - Lee