Clint Eastwood’s Mystic River props up three childhood friends and puts them into adult, full-grown shoes. It’s one of the few films that pulls off this sort of generational time-lapse premise, mostly as a result of the childhood memories having been constructed in a swift, concise manner. The characters pasts aren’t dragged down by long, overdrawn back stories.
A car pulls up next to three kids on the sidewalk. They are writing their names on a wet concrete filling. A confident man climbs out of the car, declaring himself as an officer of the law to the three kids.
He demands one of the boys to come with him. They don’t realize that the man isn’t wearing a uniform or driving a patrol car, warning signs ignored amidst the oddness of the moment.
The film shifts suddenly to adulthood. One of the boys, Dave, played by Tim Robbins, has a sort of quiet, troubled look in his eyes. It’s clear from the beginning that Dave is an embodiment of suspicion: who knows what had happened after he got in the fake officer’s car?
The other two boys appear to be doing fairly well: Sean, a hothead of a boy, played by Kevin Bacon, now works as a police investigator. The third boy, Jimmy, played by Sean Penn, runs a store, employing his nineteen-year old daughter, the light of his life.
When Jimmy’s daughter doesn’t show up for work, her disappearance meshed with his own past turns into a toxic mix. He doesn’t make a big deal out of it at first and assumes she’s simply slacking off work. But when he spots a crowd surrounding a crime scene, he catches a glimpse of his daughters car. She has been murdered.
Jimmy’s daughters murder begins a long, emotional investigation. Throughout the film we discover more about Jimmy’s past, heightening our expectations of the manner in which he’ll confront his daughters killer, if he does. An extra twist thrown into the mix: the investigator of the homicide is Sean, Jimmy’s childhood friend.