Juror #2 (2024)

Two days in a row for legal thrillers on the blog. I could have planned things a bit better, but what the hell . . . my blog, my rules.

Written by Jonathan Abrams and directed by Clint Eastwood, Juror #2 is very entertaining for most of the 114-minute runtime. You have to work hard to keep suspending your disbelief though, especially when it comes to some of the moments engineered to specifically ratchet up the tension.

Nicholas Hoult plays Justin Kemp, the juror of the title. He's being asked to decide the guilt or innocence of a man (James, played by Gabriel Basso) accused of murdering his partner (Kendall, played by Francesca Eastwood) after a drunken argument witnessed by many people. What those people didn't witness was Justin also in that bar, looking at a drink that he was tempted by, before he drove home, hitting "something" in the road on the way. Justin thinks he can maybe convince the rest of the jury that James is innocent, but that will have people looking harder for someone to arrest for the crime. It's not just a criminal case. It's a political hot potato for Faith Killebrew (Toni Collette), who wants to prosecute this case successfully before bagging a DA role.

It's easy to see why this screenplay would appeal to Eastwood and his cast. Every minute of the runtime seems to see the stakes and drama increase, and the leads barely get to catch their breath as they get swept up by the tide taking them towards a finale that should, at the very least, prompt a bit of conversation between people about what they would or wouldn't have done in Hoult's situation.

Hoult is a big plus for the film, and he's good enough to get through even the more ridiculous sequences without embarrassing himself too much. The same can be said of the other main cast members, but it's Hoult stuck with the worst plot points to work around. Collette and Chris Messina do the usual movie lawyer schtick, playing the prosecuting attorney and defence attorney, respectively. Basso has to spend a lot of the movie trying not to be too expressive, J. K. Simmons is good fun as an ex-cop on the jury who starts to smell a rat, and Zoey Deutch, Leslie Bibb, and Kiefer Sutherland get to make very little impact.

I'm not going to say that I didn't enjoy some of Juror #2, but I cannot recall the last time I watched something with such a strong premise go downhill so quickly. What I hoped was going to be a knotty and thought-provoking riff on 12 Angry Men turns into something so laughable and contrived that it's impossible to keep caring for the main character for the entire runtime. 

If you can watch this without thinking about the absurd lack of logic then you may end up enjoying it, and I'm sure many can be carried through it all by the leads. Abrams and Eastwood make things very difficult though, the former not doing good enough with the writing and the latter not adding anything to distract from it. It may not be criminally bad, but it's not very good.

5/10

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The Boogeyman (2023)

Urgh. That's the best way to start this review. Director Rob Savage made such a great impression on horror fans when he released Host, arguably the best use of Zoom ever, with the exception of that one short clip of the man who accidentally made himself look like a cat (check it out if you don't know what I'm talking about, it's hilarious). Unfortunately, it is starting to look more and more like Host was an exception, with Savage following that up with the horrible Dashcam and now this. The Boogeyman isn't as bad as Dashcam, but it's a surprisingly lazy and inept movie that delivers a polished package of everything that exemplifies the worst of modern mainstream horror.

Springboarding from a short story by Stephen King, and that's more worthy of your time than this is, the very simple plot summary for this is that it looks at a family terrorised by a boogeyman. Still grieving the death of their mother, there's teenager Sadie Harper (Sophie Thatcher) and younger sister, Sawyer (Vivien Lyra Blair). They both live with their father, Will (Chris Messina), a therapist struggling to help his children through this difficult time. Anyway, once the boogeyman enters their home, and once they start figuring out exactly what is going on, people are warned not to spend too much time alone in the dark . . . and they then spend most of the movie wandering about alone in the bloody dark.

I really don’t want to spend too much time discussing this, it annoyed me so much for almost every minute of the runtime (although the opening sequence is impressively dark and disturbing, which makes the sharp slide downhill all the more disappointing). It might be a bit more polished than the 2005 movie that covered some similar ground, but I would struggle to say this is better. It’s so carelessly thrown together, but has a couple of elements in the story that are supposed to give it some weight it never maintains, and I blame Savage and the writers, Scott Beck, Mark Heyman, and Bryan Woods. Having read the original short story, one of the many little gems written by Stephen King, I assumed that everyone involved was drawn to the material because of a twisted ending that could be expanded into a feature full of paranoia and constant unease, but it appears that they just wanted the title so they could then deliver a few jump scares and mediocre scenes we have seen hundreds of times before. 

The cast aren’t bad, with Thatcher and Blair capably carrying the whole thing on their young shoulders. Messina is sidelined for a lot of the movie, of course, but does perfectly fine work in his role, and David Dastmalchian is sorely underused in what amounts to little more than a cameo. Having said that, at least he doesn’t suffer the fate of Marin Ireland, stuck playing the standard grizzled survivor who thinks she knows how to finally kill the boogeyman and drags Thatcher’s character into her scheme. LisaGay Hamilton is enjoyable in the role of Dr. Weller, another therapist, but suffers from the fact that her screentime alludes more to the aforementioned short story ending in a way that fails to then deliver any decent pay-off.

I saw a lot of love for this when it was in cinemas, which meant I was keen to see it as soon as it hit home media, but I am glad I didn’t rush along to see this on the big screen. I don’t know what others saw in this, and maybe a fair few people left cinemas disappointed after being hoodwinked into buying a ticket, but there was nothing here that worked for me in terms of the horror content. I might have even preferred a straightforward drama showing the main characters dealing with their grief. Or, and here’s a radical idea, a creepy horror film that actually felt in line with the source material.

3/10

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Prime Time: Air (2023)

If you are going to make a film about the creation of a superstar shoe then you should probably help yourself in a number of ways. First, make sure you have a good director and write combo. Second, assemble a great cast to keep the story compelling as we wind our way between obstacles on the way to the ending that we already know. Third, try to make it fun. Nobody wants to come away from a film feeling as if they have just watched a 2-hour advert for one product.

Air is all about the deal that got Michael Jordan working with Nike, lending his name to the famous Nike Air Jordan line, and now seems as good a time as any to turn that story into a film. Especially while Adidas are crying into a huge pile of Yeezy trainers, proving how costly it can be when these things go majorly wrong. Knowing that people won’t just want to see a deal, and trainer, being made though, Air is also 1980s: The Movie. If there’s something from the first half of that decade that you have a fond nostalgia for then the chances are good that you will see it onscreen. Some may not like that approach, but I definitely enjoyed it, helped by the fact that the decade was the time of my formative years (well, not counting the decades of emotional arrested development I had to work hard to break through in just the past few years).

Ben Affleck is in the director’s chair, as well as giving himself the role of Nike CEO Phil Knight, and he does a great job with the script from first-timer Alex Convery. There are lots of great dialogue exchanges throughout, and numerous fascinating titbits sprinkled here and there, with everything surrounded by ‘80s ephemera and soundtracked by a cracking selection of hits (from Dire Straits to Harold Faltermeyer, Bruce Springsteen, and many more).

Although Affleck has a decent role, he’s a supporting player. The main character is Sonny Vaccaro, played by Matt Damon. He is the man who sees the potential in Jordan, and the potential in this landmark deal. Well, to be absolutely correct, the main character is Michael Jordan, but, excluding a montage of his major life moments, he is only ever shown in part, played by an actor who is shown from the back or is kept just off frame. His mother and father are played by Viola Davis and Julius Tennon, and Davis gets a couple of great scenes that highlight how her approval was vital to clinching the deal. Jason Bateman, Chris Tucker, Chris Messina, Marlon Wayans, and Matthew Maher also play a variety of people who all end up playing a part, big or small, in making the collaboration happen, and everyone seems to enjoy being part of such a perfectly-cast ensemble.

The cinematic equivalent of “dad rock”, Air also manages to justify its own existence by showing just how important the Nike Air Jordan became to so many people, from the company making profits to the Jordan family, to the entire world of sport, the world of clothing brands, and to the fans who rushed out to buy a shoe they saw not just any shoe, but a genuine piece of their idol. It’s also a lot of fun.

7/10

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Prime Time: I Care A Lot (2020)

The easiest, and most flippant, way to summarize I Care A Lot is to make some joke about how I didn’t really care for it. I enjoyed it enough while it was on, and the central casting helps a lot, but the whole thing lacks any plausibility, which means it lacks any real bite it should have.

Rosamund Pike plays Marla Grayson, a woman who has built up a very successful business around becoming guardian to numerous elderly individuals. This allows her to drain their assets, bill them for hours spent dealing with their cases, and generally profit from the misery of someone spending the last of their days in a care home environment. Unfortunately, Marla targets Jennifer Peterson (Dianne Wiest), a woman who is connected to the very dangerous Roman Lunyov (Peter Dinklage). This puts Marla and her partner, Fran (Eiza González), in mortal danger.

Written and directed by J Blakeson, this is a film that feels like it wants to be a few different things. It could be a comment on how we treat the elderly. It could be a taut and entertaining thriller. It could be a damning indictment of a system that leaves people with nothing as they simply aim to remain healthy and alive in a society that has already deemed them as having no (or very little) value. The fact that it fails to fully commit to any of these aims means that it ends up an unsatisfying middle of them all, with no one aspect handled as well as it should be.

It all looks clean and cool throughout, although I wouldn’t even say there’s anything particularly standout about the visuals, and the score from Marc Canham is decent, but there’s a distinct air of everything being competent, as opposed to actually good.

The only area of excellence is the cast, and Blakeson really stops the film from being a complete disaster by having such a great selection of main cast members. Pike is superb in a role that feels very similar to one of her best cinematic performances (you will know what one I am on about), and Dinklage is an excellent menacing presence. Wiest is the most pleasant surprise though, making the most of her small amount of screentime to remind everyone that she still excels in any role she is given. To be clear, the surprise isn’t her level of talent, it is seeing her get a couple of real moments to shine in a role that could have easily been no more than a fleeting cameo. González is fine, although not given much to do, and there is some excellent scene-stealing by Chris Messina (playing a slick lawyer) and Macon Blair (playing the son of someone scammed by Pike’s character).

It loses points for having the most ineffective onscreen killers not wearing stormtrooper uniforms, it loses points for not using the obvious Faith No More song choice, and it loses points for an ending that doesn’t feel half as pointed and/or clever as Blakeson may think it is. In fact, the entire third act is more silly than anything else.

I Care A Lot? Nope. And I doubt others will.

5/10

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She Dies Tomorrow (2020)

A film that would make up a perfect companion piece to the excellent Pontypool, She Dies Tomorrow is a film all about an infectious idea that renders people quite unable to go about their day to day business as they used to.

Kate Lyn Sheil plays Amy, a woman who becomes convinced that she is going to die tomorrow. She doesn't seem alarmed by that knowledge. It won't necessarily be a terrible thing, especially if she can put her plan in place to have her remains turned into a leather jacket. As Amy passes her foresight along to Jane (Jane Adams), Jane becomes equally convinced that she will also die tomorrow. As does everyone who becomes a part of this chain of communication.

Written and directed by Amy Seimetz, this is a small and effective drama that constantly darts in and out of the horror genre, and it's a film that explores a few various aspects of humanity in surprisingly effective ways, be it depression that can plunge anyone into a dark abyss, leaving them falling/floating like Alice heading into Wonderland, or the general aversion that most of us have when it comes to discussing our own mortality. It also features moments in which people are having a very real existential crisis, at the very least, while others try to criticise them for it or ask them to stop bringing down the mood of the room.

Sheil and Adams are both very good, spending a lot of the film in a bit of a daze, while everyone else appearing alongside them does work on a par with them, many quickly transforming during scenes that show them talking to a character until they themselves are afflicted with the same knowledge about their own time left on the planet. The supporting cast members worth highlighting are Katie Aselton, Chris Messina, Tunde Adebimpe, Jennifer Kim, and Josh Lucas, although you also have screentime for Adam Wingard, Michelle Rodriguez, and a number of others who are all poised to have their frame of mind radically altered.

This may not maintain any sense of creeping dread that appears in a few main scenes, and it may lack some real chills and scares, but it's an interesting film, thanks mainly to the main idea showing the reactions from various people seemingly forced to face their own mortality. If you go into it knowing what to expect, it's something aiming more for an atmosphere of helplessness and confusion rather than pure horror, then you should be able to appreciate everything that it does well, as opposed to watching it with any preconceptions that lead to you criticising it for what it's not trying to do.

Seimetz is best known for her acting work over the past couple of decades, but she's been doing some solid work behind the camera, in TV and film, for almost as long as she's been in front of the camera. And I hope she continues to make interesting choices like this.

7/10

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Birds Of Prey (2020)

AKA Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn.

I may have been acting ever so slightly provocative when I proclaimed on social media that Margot Robbie was a better Harley Quinn than Joaquin Phoenix was a version of the Joker, but that doesn't mean I was making a false statement. Phoenix delivers an amazing performance in Joker, he just doesn't feel like the character I have known in a variety of incarnations over the years. Robbie, on the other hand, is less consistent in her performance, but for at least 75% of the time feels absolutely like the character she has been tasked with portraying.

It's the performance from Robbie that goes a long way to making this film such a good time, although she's given great support from her female co-stars, and there's also a fun villainous turn from Ewan McGregor that makes you wish he would tap into his bad side more often.

The plot is fairly simple. Harley Quinn has recently been ditched by the Joker. That means that everyone who ever had a grievance against her, and there are many, can now have a go. She is no longer protected. What people take too long to realise is that Harley doesn't need to be protected. She can handle herself, although it is difficult when up against the powerful Roman Sionis (McGregor). That particular challenge is what leads to her eventually trying to play nice with Black Canary, The Huntress, a cop named Renee Montoya, and a young thief, Cassandra Cain.

Much like the central character, Birds Of Prey is an energetic, erratic, and colourful mess. The script from Christina Hodson is playful and full of reminders that this is not necessarily the most family-friendly character to spend some time with, although she IS worth appreciating for her fearless attitude, and the direction from Cathy Yan, working on what is only her second feature, is perfectly in line with the material. It's a shame that there weren't a few more action set-pieces scattered throughout, but what you get is pretty damn great, including moments such as Harley bursting in to a police station and shooting people with bursts of colour and a fight in which she manages to "level up" thanks to a face full of cocaine. As for the finale, it feels very much like something that could have been ripped from the pages of any Harley Quinn tale.

Going on and on about how good Robbie is feels redundant now. She really IS a live-action Harley, even if her performance has imperfect moments. The other female stars - Jurnee Smollett-Bell, Mary Elizabeth Winstead, and Rosie Perez - all feel perfectly suited to their roles, with Winstead providing a surprising number of laughs during her fairly small amount of time onscreen. Ella Jay Basco also does well as young Cassandra Cain, managing not to be too irritating while showing that she's a talented young woman who has inadvertently got herself into some very hot water. McGregor is a suitably nasty git, and he's assisted by a typically brutal henchman, Victor Zsasz (Chris Messina).

There's a great soundtrack, with the emphasis on female vocalists, although I would have liked room for even more choice tracks in there, a solid score by Daniel Pemberton, and plenty of choices throughout, from the editing to the production design, to the costumes and make up, and beyond, that reassure you that this vision was provided by a lot of people who were all on the same page.

It's funny, it's enjoyably anarchic, it has a 109-minute runtime (which is surprisingly short for a recent DC movie), and it introduces a group of characters I would happily watch in a number of other adventures.

7/10

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Devil (2010)

So the devil wants to torture souls and take the worse humans back down to hell, which means staying in a broken elevator with a group and picking them all off one by one. Of course.

Based on a story by M. Night Shyamalan (as part one of the proposed Night Chronicles trilogy detailing supernatural events within a modern day setting), Devil isn't a great movie but it's a slight return to form for the imaginative storyteller.

Having said that, let's not be unfair and forget that this was actually directed by someone else, John Erick Dowdle (who previously handled The Poughkeepsie Tapes and Quarantine), and that the screenplay was developed from Shyamalan's story by Brian Nelson, who previously scripted David Slade's two best movies (to date).

Everyone involved here does a decent job, the cast all play things with serious faces even as things get ever more unbelievable (Chris Messina is a solid lead as the investigating detective and from those stuck in the lift I must mention Geoffrey Arend, who I always enjoy seeing on screen), but it's not too long before the inherent absurdity and minimalism of the central concept begins to undo things.

Inevitably, tension winds down as opposed to up with the decreasing number of suspects who could allegedly be the lord of darkness. It's also a bit of a stretch to see how characters end up linking the, admittedly spooky, events to the legend of the devil coming up to our level to claim people due to get uncomfortably hot in the fiery dwellings down below.

It's not a bad little supernatural thriller but it never really turns into anything great or unmissable. Ironically, as it's also part of the concept, it can never really break free of it's self-imposed confines. Still, I have not been deterred from seeing the next instalments in the series.

6/10

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