Following all the fuss that accompanied his previous directorial effort Gone Baby Gone, it’s fairly likely that we’re all well aware of the fact that Ben Affleck is a gifted film-maker, who might in fact be far more talented as a director than he ever was as an actor. And for his second outing behind the camera, Affleck has decided to stay close to his first effort, once again adapting a respected modern crime novel set against the grimier neighbourhoods of his native Boston. The key difference is this time, in addition to directing and co-writing, he also steps in front of the camera in the role of bank robber Doug MacRay.

Kicking off, almost literally, with a vicious bank raid carried out by MacRay and his gang, which results in them taking hostage bank manager Claire (played by British actress Rebecca Hall) until they can make their getaway. Later meeting in a Launderette he, unwisely, falls for her, embarking on a relationship that could land them in trouble both with the criminal fraternity from which he came, as well as law enforcement.

Right from the start The Town is notable for its attention to detail, with the film taking pains to convey the atmosphere of Charlestown, the Boston neighbourhood that inspires the film’s title, apparently the source of the highest rate of bank robbers in the world. In order to do so the film includes numerous cast members local to the area - some in fairly major roles – numerous local landmarks and even scenes where local residents (presumably non actors) talk about what Charlestown means to them. This striving for authenticity isn’t exclusively for location, as the fairly unflinching portrayal of the crimes carried out by the gang, in which blood is shed and bones are smashed, attests. Despite the slightly contrived ‘star-crossed lovers’ central conceit, Doug isn’t even the average anti-hero that Hollywood tends to like bank robbers to be. He may be the victim of his circumstances but he isn’t blameless – his idea of going straight is to give up bank jobs and security van hits in favour of raids on bars.

Affleck does in fact turn in a very strong performance, one good enough to make you forget about the numerous missteps in his acting career along the way (well, maybe not Gigli), however with the film’s focus on grit and authenticity it could be said that he’s a little out of place; particularly when he strips off to reveal his trainer-honed body for no real reason other than to provide a bit of eye candy. Jeremy Renner as Doug’s childhood friend and co-conspirator James (or as he prefers it Jim, or Jem – his Boston accent is so thick it’s hard to tell) may well be a familiar face thanks to his starring role in The Hurt Locker but proves to be a better fit, as while by no means ugly he doesn’t have the traditional good looks of a Hollywood leading man. On the other hand, the normally glam Blake Lively is almost completely unrecognisible from her turn in shallow soap Gossip Girl. As James’ sister Krista she is swathed in peroxide and piercings, a look that would have enabled her to fit in well in with the cast of Gone Baby Gone. Consider her powerful, and even quite heartbreaking performance and it could be fair to say that she is the Affleck-style revelation of this film.

It’s true that the law-abiding side (well more so than MacRay and his gang) is filled with more conventionally attractive cast members, but it doesn’t seem like so much of a problem in their case. Despite all the attention Mad Men’s Jon Hamm may have had for appearing in the film, his role, as the FBI man obsessed with tracking down MacRay’s gang, is a relatively small one, in which his main duties seem to be that he acts charming and handsome – it’s a good thing that he excels at both. In the case of Rebecca Hall, despite the heaps of praise lavished on upon her by critics she is still very much an unknown quality for the average movie-goer. It’s fortunate that Affleck cast an actress so strong in the role of Clare as in the hands of Hall she becomes the emotional centre of the film, turning audience attention and sympathy from Affleck’s character (Will he be found out if he allows this relationship to continue?) to her (What will happen to her if she finds out?).

Like many dramas with aspirations of seriousness The Town has an issue of length, with the film stretching on for longer than it’s really quite slender storyline can sustain. Although most are of significance to later plot developments the numerous flashbacks and conversations the characters have about their tragic pasts get to be a bit of a drag. An ambitious heist that takes place at the Fenway Park stadium is likewise too long for its own good – and it might go some way to explaining why Hollywood normally sugar-coats the acts of its criminal anti-heroes as it’s hard to be concerned about the survival of characters when you’re not entirely sure if you like them or not. But when the end happens, despite it being not entirely unexpected, it’s satisfying enough for these problems to be forgiven.

Neither as surprising, nor significant as Gone Baby Gone, The Town is still an intelligent, handsome and well-acted crime drama, despite a few minor, but niggling flaws.