Juror No. 2 is guilty of perfunctory visuals but also of delivering solid courtroom drama thrills

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As a seasoned gamer with years of virtual courtroom drama under my belt, I can confidently say that “Juror No. 2” is a refreshing addition to the genre. It’s like a breath of fresh air in a world where John Grisham adaptations dominate the landscape. The script by Jonathan Abrams is engaging and original, with twists and turns that keep you on your toes.

externally, Justin Kemp (played by Nicholas Hoult) appears to be an ordinary man. He’s a journalist and a recovering alcoholic who maintains a quiet lifestyle with his wife Allison Crewson (Zoey Deutch). Their life is about to undergo a significant transformation as they prepare for the birth of their first child. However, before this change, Justin must fulfill his jury duty obligation. This seemingly ordinary aspect of home life takes an unexpected turn when he becomes a spectator at the trial of James Michael Sythe (Gabriel Basso), a man accused of murdering his girlfriend Kendall Carter (Francesca Eastwood) a year ago. The prosecutor, Faith Killebrew (Tony Collette), is determined to ensure that Sythe receives justice in this case.

As she’s certain Sythe is the culprit, a sinking feeling arises within Kemp in the jury box. A year ago, he was driving his car late at night under heavy rain. He believed he had hit a deer on the bridge where Carter’s body was later found. However, as Sythe persistently claims innocence and more details about Carter’s injuries come to light, Kemp comes to realize that it was her he accidentally killed. Now, he finds himself in an impossible predicament. Should he tell the truth and ruin his family, or keep silent and potentially send an innocent man to prison for life? These are the dilemmas Kemp struggles with. Simultaneously, he’s urging the other 11 jurors not to rush to a “guilty” verdict without careful consideration.

Director Clint Eastwood has been making movies over the past few decades that focus on American heroes, often with a strict and reverent tone. Films like “The 15:17 to Paris” and “Richard Jewell” felt weighed down by this approach, much like an albatross. However, “Juror No. 2” is a bit of a relief because it’s less complex, less hero-worshipping. The script for this film was written by Jonathan Abrams and it’s more about unexpected twists and turns rather than catering to the fans of Chris Kyle or The Four Seasons. Additionally, “Juror No. 2” has an advantage as it’s released in a cinematic environment that currently lacks many courtroom dramas.

In simpler terms, the lack of courtroom dramas like ‘Anatomy of a Murder’ and ‘Inherit the Wind’ we used to see has been replaced by a variety of other films in cinemas today. It’s been some time since we last saw jurors arguing or judges scolding lawyers. This change makes it easier to enjoy the simpler aspects of ‘Juror No. 2’, such as watching the diverse juror personalities interacting (the friendship between a young pot-smoker and an old lady is quite amusing). Although ‘Juror No. 2′ isn’t as intense or complex as classics like ’12 Angry Men’, ‘Anatomy of a Murder’, or ‘My Cousin Vinny’, it still offers its own unique charm.

Not only does Nicholas Hoult’s performance as Juror No. 2 contribute significantly, but he delivers a compelling portrayal even when the visuals and narrative stick to familiar ground. His recent roles in “The Order” and “Warm Bodies” show that he excels at conveying emotions subtly through his eyes, or ‘eyeball acting’. In this role as Kemp, Hoult manages to express immense pain and internal turmoil not through grand gestures or dialogue, but rather through the intensity in his eyes. A single glance from him speaks volumes about his character’s feelings.

1) With his convincing, understated performance, Kemp’s portrayal of his internal turmoil and everyman persona is truly authentic. In minor roles, several talented character actors add depth and enjoyment to their parts, surpassing the written script. For example, Cedric Yarbrough skillfully plays Marcus, a juror intent on imprisoning Sythe. Despite being saddled with expository dialogue, he gives Marcus a sense of lived-experience that makes him fascinating. Collette, on the other hand, excels in creating Killebrew as an initially cold and adversarial figure. Later, she masterfully reveals more dimensions of this character’s complexity. Indeed, Collette has an exceptional talent for bringing any role to life.

If anything detracts from Juror No. 2’s exceptional writing and acting skills, it’s the cinematography. Unfortunately, Eastwood struggles to break free from the outdated visual style that often taints his recent directorial projects. Thankfully, the peculiar color grading and persistent dark shadows seen in films like “American Sniper” and “Richard Jewell” are nowhere to be found here. However, the movie falters when it should build a more dynamic, suspenseful atmosphere. Crucial intense scenes, such as Kemp and Harold (J.K. Simmons) being summoned before a judge, lack flair in lighting and staging. It’s challenging to stay on the edge of your seat when the visuals aren’t compellingly presented. Several awkward exterior shots that suggest the jurors’ time passing only reinforce this unengaging cinematography.

Joel and David S. Cox’s edits are frequently straightforward, but their work on cross-cutting scenes in Juror No. 2 stands out as particularly lively. Transitions between moments like conflicting closing arguments or Kemper’s flashbacks in the courtroom are skillfully handled. A tense confrontation late in the movie between Marcus and Kemp also benefits from these cuts, creating a sense of tension as the camera switches between the juror’s accusatory words and Kemp fidgeting with an AA badge. The editing in Juror No. 2 is precise to a fault, while the cinematography and direction are less focused.

The basic visuals and minor characters (Deutch is likable, but has no connection to Crewson) don’t lessen the engaging atmosphere of Juror No. 2. It’s a nice way to spend two hours that mostly meets expectations for courtroom drama fans. Plus, it provides opportunities for skilled actors like Hoult and Collette to showcase their acting skills in close-knit settings. If this is indeed Clint Eastwood’s final directorial effort, it’s not a grand masterpiece, but a good thriller isn’t a bad ending for his impressive body of work. It’s too bad he couldn’t create one more role for the fake baby from American Sniper…

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2024-11-05 20:15