Director:
Gregory HoblitCámara:
Michael ChapmanMúsica:
James Newton HowardReparto:
Richard Gere, Laura Linney, John Mahoney, Alfre Woodard, Frances McDormand, Edward Norton, Terry O'Quinn, Andre Braugher, Steven Bauer, Joe Spano, Tony Plana (más)Streaming (2)
Sinopsis(1)
Martin Vail (Richard Gere), un ambicioso abogado de Chicago, es capaz de aceptar cualquier caso con tal de salir en la prensa. Un día decide ocuparse de uno que parece imposible de ganar: la defensa de Aaron (Edward Norton), un joven que es acusado del asesinato del arzobispo de Chicago, tras ser detenido mientras huía del escenario del crimen. (Universal Pictures España)
(más)Videos (1)
Reseñas (11)
Una película apasionante, inesperadamente brutal en detalles para un thriller convencional, y sólida en todos los sentidos, en la que el debutante Edward Norton en un papel secundario consigue eclipsar perfectamente a la potencia de la estrella que era Richard Gere en ese momento... lo que en realidad encaja perfectamente con el tono de la película. Bravo.
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I've found that courtroom thrillers are my kind of thing. This film is so well written, acted, intelligent, suspenseful, breathtaking in places, and with an amazing and unpredictable final twist, that I really can't fault anything. Richard Gere is brilliant, I've never liked him, but here I was a big fan, and Edward Norton, even as a youngster, so hats off to his talent. 90%
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Although quite uninteresting thematically, in the end it is a solidly directed one-off from typical 1990s production. That is, during a time when Richard Gere was still a sensation and elegant, not playing tormented policemen or morally conflicted middle-aged men. Moreover, it is perhaps the first time that Edward Norton also appears on the big screen, playing his part phenomenally – though the entire screenplay, which relied primarily on his performance and role, was ultimately somewhat predictable. But this does not change the fact that the film is definitely worth seeing for those who enjoy lawyers and courtrooms, as there are several excellent scenes along those lines.
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If there is something perfect that deserves a five-star rating about this film, it is definitely Edward Norton's performance in the role of a man accused of murdering a celebrity. In his debut, he showed immense potential with his talent and both critics and film viewers were amazed by him. He has certainly rightfully ranked among the most significant names of his acting generation. I have no problem with Richard Gere in the lead male role either, who is, although two or three levels worse than Norton, still good enough, and above all, Gere was perfectly cast in a role that he masterfully controls, and he has experience in portraying these types of self-confident elegant characters. However, what bothers me is the screenplay. It's the typical Hollywood construction that tries to manipulate the viewer as much as possible and prepares a "shocking" twist at the very end. That is exactly what pleases many film fans on the other hand. It's not about the fact that the perpetrator plans 20 moves ahead because every top chess player does that. It's rather about the fact that the brilliant plan counts on the reaction of many involved parties, which cannot be accurately predicted in reality, and if their reactions were to deviate even slightly from the assumptions, the perpetrator would end up in the electric chair very quickly. Not to mention that according to my indirect knowledge, this is not how the American justice system truly works. Overall impression: 65%.
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Thanks to Edward Norton's fascinating performance, this is a solid spectacle that disappoints in all other aspects. Richard Gere's conversations about honor are pointless, as are the courtroom scenes, and Laura Linney will only mature into a charismatic and likable woman several years later. Fortunately, the finale picks up momentum and reaches the ending I expected and wanted. Without moralistic lectures, it is decent enough for a single viewing, but ultimately forgettable.
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