Juror #2

Nicholas Hoult

Juror #2 shows off the unfussy craftsmanship that has been Clint Eastwood's hallmark as a director since High Plains Drifter. The expert tongue and groove style disguises some of the improbabilities of Jonathan Abrams' flashback laden script, but brings out with full force the portrayal of a justice system compromised by the financial iniquities of American society. The 12 Angry Men type jury deliberations are the weakest moments in the film. Abrams capture the vocalese of his own generation, but the elder and youthful jurors are given very silly lines of dialogue.  I did like the portrayal of the collegiality between opposing lawyers Toni Collette and Chris Messina, an aspect of the legal profession that has not been fully explored by the American cinema. 

Though reportedly a wolf in his personal life, Eastwood has always made an effort in his films to show his support and empathy for strong women. It is significant that he casts one of his daughters as the victim in the homicide case that is at the center of this film. The character is not a weak victim, but one who stands up for herself and talks back to her man. Furthermore, if their is a hero in the film it is Toni Collette's prosecutor, who has enough backbone to admit she may have tried the wrong man. Eastwood's mise-en scene has always been more at the service of his plots then in the service of expressing personal themes. There are exceptions, like the strip mining scene in Pale Rider, but, like most actors turned directors, he is more interested in giving his players space than in controlling every detail within the frame. In Juror #2, this gives us one of the best ensemble casts of the past year. Besides Ms. Colette and Mr. Messina, the film has indelible performances from lead Nicholas Hoult, Zoey Deutch, Gabriel Basso, Francesca Eastwood, Kiefer Sutherland, Leslie Bibb, Cedric Yarborough, and J.K. Simmons, the Walter Brennan of his generation.

Juror #2 is one of the few recent mainstream American films that seems to be aimed at adults. This perhaps explains why it was deep sixed by Warner Brothers. Nevertheless, it further demonstrates what a solid and consistent film craftsman Eastwood is. If this is his final film, it is a worthy send off.