Sometimes, they do make ‘em like they used to.
In what may be his final film, nonagenarian auteur Clint Eastwood has crafted a solid, old-fashioned courtroom drama with “Juror #2.” Always known for his efficiency as a filmmaker, Eastwood brings that same brisk energy to this suspenseful piece of storytelling. If this is indeed his swan song as director, the 94-year-old legend ends his career behind the camera on a high note following some so-so recent efforts, including “Cry Macho,” “The Mule” and “The 15:17 to Paris.”
This is the kind of mid-budget, mainstream movie we used to see a lot of in the 1980s and ‘90s but has become increasingly rare within a cinematic landscape that consists mostly of soulless IP sequels and reboots and cool, daring indies. It falls somewhere in between: a movie for grown-ups with its classy production values, strong performances from a starry cast, and thoughtful themes for viewers who want to be entertained but maybe think a little, too.
Nicholas Hoult stars as Justin Kemp, a writer stuck on jury duty when he’d much rather be at home, caring for his extremely pregnant wife, Allison (Zoey Deutch). Having just spent five days on jury duty myself, listening to people answer the same questions over and over again during the voir dire process, I can attest that my fellow citizens offer all kinds of imaginative excuses in the hopes of being excused. Here, in the movie’s Savannah, Georgia setting, impending fatherhood doesn’t cut it.
In all its sultry scenery, Savannah was also the location of another Eastwood thriller, 1997’s “Midnight in the Garden of Good and Evil.” But we spend most of our time here indoors, within the courtroom and the jury deliberation room, as a dozen strangers come together and struggle to find justice in a high-profile murder trial.
A series of flashbacks reveal the horrible death with slightly different details and angles, depending on the witness or evidence. We know this much: After a night of drinking and arguing with her boyfriend at a roadside honkytonk, a beautiful blonde named Kendall (Francesca Eastwood, the director’s daughter) was found dead on the rocks beneath a bridge. Cinematographer Yves Bélanger’s intimate camerawork and vivid sound design put us inside the emotion and confusion of that dark and stormy night.
Power-suited prosecutor Faith Killebrew (Toni Collette, doing an iffy Southern accent) thinks this is the open-and-shut case that will catapult her to the district attorney’s office. Obviously, Kendall’s boyfriend, James (Gabriel Basso), with whom she had a notoriously volatile relationship, must have killed her. Witnesses saw them fighting that night, then saw him chase her out to the parking lot.
His lawyer (a charismatic Chris Messina) tries to inject just enough reasonable doubt that the jury will find James not guilty. James himself has asserted his innocence all along. However, the more Justin hears about the crime, the more doubts he has about his own. He was at the bar that night, too – and he may know more than he’d like to admit.
Sound like a lost John Grisham book that’s finally been brought to the big screen? There are definitely retro pleasures to be found in Jonathan Abrams’ twisty script.
Hoult gives a subtly compelling performance as a man steadily realizing his entire future is in jeopardy if he comes forward and does the right thing. He’s a recovering alcoholic with a tenuous grasp on his sobriety and a deep gratitude for the second chance he’s received, which makes us sympathize with him even more. Kiefer Sutherland brings just the right balance of caring and candor as Justin’s sponsor, who also happens to be a lawyer.
Also among the strong supporting cast is J.K. Simmons as a fellow juror, a former detective who has his own suspicions about how the case was handled. (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 feels like the Eastwood stand-in here: A seasoned, no-nonsense veteran who’s the smartest guy in the room and isn’t shy about showing it. Cedric Yarbrough is also very good as another juror who has his own reasons for voting to convict. And Leslie Bibb is amusing the perky stay-at-home mom in a spot-on wardrobe of tasteful neutrals and a monogrammed tote bag.
“Juror #2” may feel like a modest procedural for most of its running time. Still, the ending is a doozy, and it’s one you’ll want to have a conversation about afterward – hopefully with other grown-ups who still enjoy this kind of meaty, sturdy entertainment.
