Juror #2 Review: Clint Eastwood Is Guilty of Still Being Great

Juror #2 Review: Clint Eastwood Is Guilty of Still Being Great

As a seasoned film enthusiast with over four decades of immersion in the cinematic universe, I must say that Clint Eastwood‘s latest offering, Juror #2, has left me both intrigued and impressed. Having witnessed the evolution of Eastwood’s directorial prowess since his days as Dirty Harry, it is fascinating to see him tackling a narrative that delves deep into moral quandaries and human frailty.


If Juror #2 is Clint Eastwood’s last film at 94 years old, it’s important to note that this courtroom drama is a gripping, puzzling, mainstream success. Few directors, regardless of their age, could have handled it as skillfully as Eastwood did with this straightforward, yet thought-provoking throwback thriller. This film doesn’t just touch upon its ethical dilemmas; it delves into them deeply. With a tightly written script by Jonathan Abrams that skillfully avoids slipping into the realm of overly simplistic airport novels, Eastwood masterfully adds depth without sacrificing accessibility and maintaining an engaging narrative throughout.

Eastwood’s most notable works as both a director and an actor delve into the boundaries of justice and the determination of imperfect individuals to correct their moral course. In particular, Juror #2 examines these themes while simultaneously encouraging viewers to scrutinize their own prejudices, biases, and perceived nobility, which often fade when one’s life is at stake. The film underscores the persistent theme that Eastwood’s moral universe has consistently leaned towards justice, albeit a path that is frequently distorted by fallible people driven by fear, self-interest, and survival instincts.

Nicholas Hoult Excels as an Expectant Father with a Dark Past

In simpler terms, Justin Kemp (played by Nicholas Hoult) faces jury duty despite having compelling personal reasons. He’s a recovering alcoholic, and his wife is on the verge of giving birth to their first child, following a tragic miscarriage earlier. However, these circumstances are not deemed sufficient to exempt him from being chosen for the trial of James Sythe (Gabriel Basso), who stands accused of brutally killing his girlfriend and leaving her body in a ditch after an altercation at a nearby bar.

Right from the start, Eastwood challenges our ingrained notions about the kind-hearted husband who miraculously changed his ways and the grim, allegedly guilty man. Isn’t it natural to assume that James is culpable due to his neck tattoos, or Justin is innocent because he cherishes his wife and eagerly anticipates fatherhood?

It turns out Eastwood is just getting started. The prosecutor, Faith Killebrew (Toni Collette), is running for district attorney and can use an open and shut case to burnish her law-and-order bona fides. The facts certainly point to Sythe’s guilt; many witnesses saw him get into a fight with girlfriend Kendall (Francesca Eastwood) at the bar, which ended with her walking off in the rain and Sythe following in his car. There’s even an old man living in a trailer who saw someone near the ditch where she died. But the more Justin hears the evidence, the more he realizes that he was at the same bar that night, and he drove away at the same time as Sythe. And that deer Justin hit with his car moments later by the ditch where Kendall died? It may not have been a deer.

Eastwood Tackles America’s Flawed Legal System

Juror #2 Review: Clint Eastwood Is Guilty of Still Being GreatJuror #2 Review: Clint Eastwood Is Guilty of Still Being GreatJuror #2 Review: Clint Eastwood Is Guilty of Still Being GreatJuror #2 Review: Clint Eastwood Is Guilty of Still Being Great

Movies frequently invite audiences to identify with the protagonist, boosting our self-esteem. However, there are rare films that challenge viewers to empathize with a character who gradually discovers he might be the antagonist instead. This is the cleverness of Abrams’ script, where Justin comes to believe he unintentionally murdered Kendall and Sythe is innocent. Such an unlikely scenario is something only found in the world of cinema, obviously. But Eastwood’s relentless exploration of Justin’s moral dilemma and his dismantling of a seemingly noble legal system corrupted by human weakness makes us eager to join him on this journey.

The director doesn’t criticize the jury system, instead emphasizing that achieving impartiality, something only ideal, is what the system relies on. This creates challenges in the deliberation room as Justin attempts to prevent a swift guilty verdict to alleviate his own guilt. To accomplish this, he must confront the biases of fellow jurors, such as Marcus (Cedric Yarbrough), who believes Sythe is guilty due to his work with at-risk children. Additionally, there’s the former detective (J.K. Simmons) who suspects the incident was a hit-and-run and is prepared to engage in questionable after-hours investigations to support this theory.

The screws turn so slowly and irrevocably here that Juror #2 feels like a ‘90s era John Grisham movie adaptation directed by Alfred Hitchcock. Justin is in an impossible situation; if he convinces the jury to acquit Sythe, his conscience will be clear, but he may someday be discovered as Kendall’s killer. If the jury convicts Sythe, Justin would have to live with the guilt of not only killing an innocent woman but sending an innocent man to jail for it. Justin must hide all this from his wife as he weighs his moral responsibility with the fact that he’s got a child on the way and his life finally on the right track.

Eastwood’s work consistently challenges us to reassess our actions in similar circumstances. Moreover, he expands his critical perspective to scrutinize the local law enforcement, who tend to prioritize making an arrest over finding the truly guilty individual as a victory. There’s also Faith, the ambitious prosecutor, whose political aspirations might overshadow notions of innocence. Eastwood skillfully tackles multiple subjects here, yet he does so with meticulous care and a measured pace to make each character’s motivations appear plausible at the moment. The camera (with cinematographer Yves Bélanger) closely observes the outstanding performance of Hoult. He frequently appears semi-shrouded in darkness and must convey non-verbal emotional changes, which he does subtly, keeping us curious about his thoughts and captivated by his performance.

The 94-Year-Old Icon Has Still Got It

Juror #2, a particularly engaging film by Eastwood, might not rank among his top works, but it certainly showcases his cunning storytelling skills. By skillfully handling a somewhat implausible narrative, it delves into an important foundation upon which democracy is built. Just as an imperfect society, despite its best efforts, may unintentionally undermine that foundation, it’s comforting to think that the man who once encouraged America to “take charge” trusts that most of us will ultimately make the correct decisions.

Warner Bros. will release Juror #2 in limited theaters on Friday, November 1.

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2024-11-01 00:03