As a seasoned film critic with over three decades of experience under my belt, I must say that Clint Eastwood never ceases to amaze me with his ability to weave intricate narratives that challenge our perceptions and provoke thoughtful discussions. “Juror #2” is no exception – it’s a modern-day Rashomon that leaves us questioning the nature of truth, justice, and the stories we tell ourselves.
At 94 years old, renowned actor-turned-director Clint Eastwood may not have many more feature films left in him. His newest film, “Juror #2,” a high-end legal thriller with a pulpy edge, is scheduled for a limited theatrical release – but unlike the gradual rollout used by studios to push their fall and winter releases through the awards season, it will only be shown in fewer than 50 cinemas across the country. Remarkably, its box office earnings have yet to be reported. Many are attributing this unusual release strategy to David Zaslav of Warner Bros. Discovery, as if alienating Christopher Nolan and losing the NBA from their linear TV wasn’t enough, they seem to be excluding an icon who has made films for the studio for half a century without any clear justification.
One could assume that the film “Juror #2” might not be commercially successful, given it seems to tackle controversial themes in today’s political climate, or perhaps appears to lack the typical elements of a blockbuster disaster movie. However, quite the contrary! This film is a compelling drama with a solid narrative foundation, an outstanding cast, and a run time that strikes a perfect balance. In fact, it’s the kind of mature drama that has been pushed to television for the past decade or so, but “Juror #2” brings it back to the big screen where it truly belongs.
While it was delightful to see this movie shine on the big screen and reaffirm the importance of films in its budget category, it can still be enjoyed as a fun, light-hearted spectacle – akin to munching on popcorn. Additionally, it serves as a reassuring testament to Eastwood’s robust filmmaking skills and his ability to bring a lighter feel to his directorial work. However, some small, lingering issues prevent it from becoming an unforgettable gem, the type of movie that would excel in repeated showings on channels like TNT.
A good old-fashioned courtroom drama
As a captivated viewer, I found myself immersed in the story of Julian Kemp (Nicholas Hoult), a recovering alcoholic and journalist, whose wife Ally (Zoey Deutch) is about to give birth under high-risk circumstances. Despite this personal turmoil, Julian finds himself summoned for jury duty, where he’s assigned to a local murder case. The defendant, James Sythe (Gabriel Basso), is on trial for the murder of his girlfriend, whose lifeless body was discovered near a creek, not far from the bar where they had a heated, public altercation.
The peripheral characters add depth to Julian’s moral dilemma. Chris Messina portrays James’ defense attorney, while Toni Collette takes on the role of a prosecutor aiming for D.A. These legal figures are at odds: one is convinced of his client’s innocence, while the other sees the case as merely a stepping stone in her political ambitions. J.K. Simmons plays a retired detective juror who is intrigued by the mystery and tries to unravel it outside the jury room. Kiefer Sutherland delivers an impactful performance as Julian’s sponsor, a lawyer who advises against his self-surrender, arguing that nobody would believe he didn’t slip up on the night of the murder.
In essence, although the courtroom suspense and the enigma about that particular night are undeniably captivating, Clint Eastwood is crafting an intriguing moral lesson in a movie type that would have been extremely popular during the early to mid ’90s. This era was characterized by audiences appreciating narratives that were reminiscent of “Law & Order” episodes in terms of plot, but offered more dramatic depth, boasted greater star appeal, and showcased visual quality that television couldn’t match at the time due to budget constraints.
In a subtle yet impactful manner, Eastwood and cinematographer Yves Bélanger opt for a non-flashy style behind the camera, but their method of staging and composition is consistently effective. The narrative unfolds with varying accounts from witnesses that subtly resemble the multiple perspectives in “Rashomon”. The clever use of tone and editing maintains a swift pace while allowing time to appreciate the actors’ performances.
Does it live up to its premise?
In simpler terms, the thematic elements of this movie might be confusing for some viewers because they detract from the enjoyable, Hitchcock-esque atmosphere at the film’s core. For instance, “Trap” (previously reviewed by Looper), a thriller about a serial killer, found humor in watching him evade capture. However, the main character in this movie, played by Nicholas Hoult, lacks the charm of Josh Hartnett’s character from similar roles. Although Hoult has experience playing villains, here he portrays a weak, ordinary man grappling with his own past traumas and guilt.
Despite the array of secondary characters linked to these philosophical dilemmas, the movie encounters difficulties during its midsection due to attempting to tackle too many aspects. The Rashomon-esque overtones align well with the thriller’s atmosphere, but whenever it resorts to resembling a less engaging adaptation of “12 Angry Men,” Julian’s shortcomings as a protagonist become evident. He is challenging to support yet equally hard to oppose. Clint Eastwood appears to be pursuing a theme from “Sully” and its scornful empathy towards bureaucratic red tape, as well as from “Richard Jewell” with its criticism of the media’s incompetence, but here he directs these grievances at the criminal justice system. This creates a compelling image of how numerous unrelated issues take priority over the victim’s lost life, in pursuit of some neat resolution. However, it concludes successfully by challenging this central hypocrisy – the one displayed by both the characters and the system they operate within.
It’s hopeful that Eastwood will direct another movie, but if this is his last, we can take comfort in knowing he hasn’t missed a beat.
“Juror #2” lands in theaters on November 1.
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2024-10-31 00:30