In what could very well be his last feature, 91-year-old film maestro Clint Eastwood presents a gripping court drama in “Juror #2.” He has always been a very economical filmmaker and nothing has changed in his approach for this tense narrative. If this is indeed his last film as a director, the 94-year-old brings down the curtain on a somewhat disappointing solo career since ‘Cry Macho’, ‘The Mule’ and ‘The 15:17 to Paris’ with something to commend.
This is the sort of an average budget American entertainer that was very common in the 1980s and 90s but has now diminished in an era that is saturated with mindless IP monotones and cool risk taking Indies. This film however stands somewhere in the middle; it can be seen as a film for adults with its elegant production values, rich cast performances, interesting subjects for people who want to relax but might want to think a little too while watching it.
Nicholas Hoult’s character is Justin Kemp, a writer who unfortunately has to serve on a jury on a trial that takes him away from looking after his heavily pregnant wife Allison (Zoey Deutch). As someone who has recently had to endure the chore of jury service, sitting through people asking the same questions repeatedly during the polling process, I can say with certainty that my co-citizens have such fanciful stories in desperation to be let off from duty.
In the case of this film set in Savannah, Georgia, news of an upcoming parenthood is not sufficient.
Besides its sultry geography, Savannah was also a shooting location for another Eastwood thriller, 1997’s “Midnight in the Garden of Good and Evil.” All our other activities are concentrated here as well inside the court and the jury room, where twelve nondescript people try to resolve the issue of guilt within the frameworks of a sensational murder case across the country.
Each of these eyewitness accounts helps establish a timeline of events: Kendall arrives at the bar with her boyfriend and argues with him late at night, after which she is reported missing; her lifeless body is eventually discovered this way, in this place. A beautiful blonde named Kendall, played by Francesca Eastwood, daughter of the director, was found submerged on the boulders of a bridge after a long night of drinking and fighting with her partner. Yves Bélanger deftly supervised the cinematography and sound that made such a dreadful and tempestuous night ever memorable.
During the trial, the prosecutor, who is dressed sharply, is voiced by Toni Collette, who attempts an exaggerated Southern accent. Faith Killebrew sees this as the most straightforward case possible and plans to advance in her career after wining it. She is almost certain James, Kendall’s boyfriend, who had a very violent relationship with her, was the killer.
Witnesses claimed to have seen them argue that night and watched him run after her to the car park.
His attorney, who has good flair aka Chris Messina tries, just manages to plant reasonable doubts in the minds of the jurors and they would acquit James. James, for his part, has always insisted that he never committed any crime. However, the more Justin learns about the act of crime, more he loses faith in himself. He too was at the bar that evening they may seem to know more than they are prepared to say.
Does this sound like a forgotten John Grisham novel that has now finally been adapted to the big screen? There is certainly an eighties feel to some, if not most, of the plot in Jonathan Abrams’s complex script.
Hoult convincingly plays a man who as the story progresses only becomes more aware that his shameful act would risk losing everything if he stepped out and did the right thing. He’s a drunkard who is clinging onto the last strands of his sobriety and is thankful for the second opportunity given to him that makes it all the more easier to sympathize with him. Kiefer Sutherland manages to strike the perfect tone of gentleness and straightforwardness in his portrayal of Justin’s sponsor who, incidentally is also a lawyer.
J.K. Simmons is also among the stronger supporting cast who plays the role of another juror, a retired policeman who has his own doubts about how the case was dealt with.
(In theory, the fact that he was a cop should have come out during jury selection, which is an oversight the movie is smart enough to acknowledge.) He seems to bear the brunt of the Eastwood role in this film: a cranky, seasoned veteran who is the smartest guy in the room, and accustomed with showing it off. Cedric Yarbrough is also quite convincing playing another juror who has his own reasons for voting guilty in the trial. And Leslie Bibb is hilarious the upbeat housewife in the tactfully designed wardrobe of soft colors and a branded bag.
For the most part of its running time, “Juror #2” may appear to be a simple procedural. There is, however, a fascinating and genuinely thrilling conclusion that the viewer will surely want to discuss after the film with other adults who appreciate such engaging, substantial entertainment.
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