 A film in three minutes, Gone, Baby Gone. What does the concept of justice mean to you? Do you believe it exists? Can it only be defined by a higher power? Or is there no such thing as justice in this world? Just us human beings stuck with the decisions we make. And if faced with a choice where each option is both immoral and yet justified at the same time, would you truly know which one you would pick? Would you truly know which one was just? Because in Ben Affleck's 2007 heart-wrenching thriller Gone, Baby Gone, the answer is not so easy to discern. Set in Dorchester, Boston, the story follows private investigator Patrick McKenzie, played by Casey Affleck, who is hired along with his partner, played by Michelle Moynihan, to investigate the recent abduction of four-year-old Amanda McCready at the behest of Amanda's aunt and uncle. After digging into the connections of Amanda's abusive mother, Helene, played by Amy Ryan, they joined forces with local detectives, Remy Brassant and Nick Poole, and tracked down a suspect believed to be holding Amanda for ransom. However, when the case takes a tragic turn, McKenzie suspects that the individuals involved are hiding a deeper truth behind the abduction, which forces him to slowly unravel the many lies and deceit surrounding the case. Gone, Baby Gone was Ben Affleck's directorial debut and quickly cemented his reputation as a director capable of eliciting excellent performances from his cast. The world of working-class Boston comes alive thanks to Affleck's decision to cast real-life locals as extras and supporting characters, heightening the sense of gritty reality on display. Casey Affleck's performance as the idealistic PI is magnetic for its intensity, which often leads him into sharp conflict with almost everyone involved in the case, especially in the film's third act when the truth is uncovered. But the standout performance comes from Amy Ryan as Helene, who is so unrecognizable in the role that we quickly forget the actor behind the character and become absorbed into the story thanks to her presence. The film's ending, where McKenzie is faced with the truth over Amanda's fate, is one of the most thought-provoking third acts I can think of. The question over whether good can be derived from an initial wicked act is debated by McKenzie and several characters throughout the course of the investigation, leaving us to ponder if the actions of those responsible for the abduction acted justly. But unlike in other films' plots revolving around a crime, both sides of the argument here have a solid moral footing to stand their ground on, leaving us as the audience to make the final decision over whether or not McKenzie's choice was the right one. Regardless if you agree or disagree with the final outcome, Gone Baby Gone's power as a drama is undeniable, with a stellar cast, authentic direction of its setting and a moral debate that will stay with you for years to come, just like it will for the man who made it.