'Juror #2' Reviews: "With an intriguing premise, "Juror #2's" greatest asset is its performers"

         On November 1, 2024, Warner Bros. Pictures released Clint Eastwood's 'Juror #2', which has received predominantly positive reviews from critics. In the film, "family man Justin Kemp (Nicholas Hoult) who, while serving as a juror in a high profile murder trial, finds himself struggling with a serious moral dilemma... one he could use to sway the jury verdict and potentially convict--or free--the accused killer." The ensemble cast includes Toni Collette, Chris Messina, and J.K. Simmons. But what did the critics say?

        Matt Neglia of Next Best Picture says, "With an intriguing premise, "Juror #2's" greatest asset is its performers. In this unusual "About A Boy" reunion, Nicholas Hoult and Toni Collette produce strong work as two individuals racked by moral guilt the deeper they hurl themselves into the case."

        Pete Hammond of Deadline Hollywood Daily notes, "Eastwood, working with a fine original screenplay by Jonathan Abrams, has made one of the most compelling human dramas of his career, one that inevitably will resonate with smart adult audiences." Adding, "There are so many twists in Abrams’ cleverly constructed scenario, and amazingly they all are plausible. If they weren’t, this whole soufflé could fall, and fall hard. It stays above water. Eastwood always honors the writer and rarely does radical surgery on his film’s screenplays. Here the script has been honed nicely, and Juror #2 also has been exceptionally well cast down to the smallest roles (Geoff Miclat is the casting director)."

       Peter Debruge of Variety praises the film, stating, "It’s no coincidence the film is set in Georgia, where first-degree vehicular homicide is treated as a felony. The location gives Collette (and no one else in the cast) a chance to do a thick Southern accent, as her character alternates between court and the campaign trail. Faith is running for district attorney on a tough-on-domestic-abuse platform, and this case could push her to victory, which makes the truth as inconvenient for her as it is for Justin. (On the opposite side, Chris Messina plays the desperate-sounding public defender.)" Concluding, "Once the trial wraps and deliberations begin, Eastwood seems to be counting on our having seen “12 Angry Men,” dangling the possibility that Justin could sway the rest of the jury to acquit — or else nudge them toward a guilty verdict, letting Kendall’s boyfriend, James Sythe (Gabriel Basso), take the fall. But Jonathan Abrams’ script has a few twists up its sleeve, which seem to fit Eastwood’s more skeptical view of the legal process."

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'Joker: Folie à Deux' Impresses Critics

 

Photo by Peter Schad on Unsplash

        At the 2024 Venice Film Festival, with a release date on October 4, 2024 by Warner Bros. Pictures, 'Joker: Folie à Deux' received predominantly positive reviews from critics. In the sequel to the Oscar winning, 'Joker', Arthur Fleck is awaiting his trial and is being held at Arkham. "While struggling with his dual identity, Arthur not only stumbles upon true love, but also finds the music that's always been inside him." The ensemble cast includes Lady Gaga, Joaquin Phoenix, Zazie Beetz, Brendan Gleeson, Steve Coogan, Jacob Lofland, Harry Lawtey, and Catherine Keener. But what did the critics say?

        Dorian Parks of Geeks of Color praises the film, stating, "In Joker: Folie à Deux, the story picks up two years after the events of the first film, where Arthur Fleck (Joaquin Phoenix), dressed as the Joker, murdered a talk show host (Robert De Niro) live on television, sparking an uprising throughout Gotham City. Now confined to a psychiatric ward and facing the death penalty, Arthur encounters Harleen “Lee” Quinzel (Lady Gaga), a fellow patient with an unsettling obsession with him—or, more accurately, with his Joker persona." Concluding, "Although Margot Robbie has solidified herself as THE live-action Harley Quinn of the DC universe, Lady Gaga’s depiction in Joker: Folie à Deux is incredibly strong yet drastically different from any iteration of the character we’ve seen before. While Robbie’s Quinn is characterized by her vibrant, chaotic energy and dark humor taking more inspiration from the Batman animated series, Gaga brings a more grounded and stripped-back softness to her role, and a calculated craze behind her eyes."

         Tim Grierson of Screen International was less impressed, stating, "Where the original Joker remains a stunning exception — that rare blockbuster with emotional shading, grownup themes and a genuine sense of grandeur — this sequel fails to stay on the beat."

        Hannah Strong of Little White Lies says, "It begs the question, why is Phillips so reluctant to embrace that the film is a musical? Why not add a little more colour, some flourish to the production design?" Adding, "Gaga’s much-fêted follow-up to her impressive turns in A Star is Born and House of Gucci is a let-down through no fault of her own – the character is hopelessly underwritten, and her musical classics were better executed in her 2014 album with Tony Bennett, ‘Cheek to Cheek’. Although her take on Harley Quinn is barely recognisable from the popular depictions of her as a gum-chewing, fast-talking diamond in the rough, there isn’t any attempt made to replace these characteristics with anything new or interesting. Lee’s role in the narrative is purely to encourage Arthur to embrace his “Joker” persona; she exists purely to be obsessed with Joker, which has always been the least interesting aspect of Harley Quinn’s story despite it being her initial purpose."

       Bill Bria of Slashfilm notes, "It feels remarkably honest and true to itself, demonstrating again that taking such a popular character seriously is nothing to laugh at." Continuing, "while Joker and Harleen "Lee" Quinzel are starring in their very own musical, the rest of "Folie à Deux" concerns Arthur being put on trial for the murders he committed during the first movie. Sure enough, as per a number of high-profile criminal trials over the decades, the proceedings become a media frenzy as cocky young prosecutor Harvey Dent (Harry Lawtey) attempts to portray Arthur as a competent killer while defense attorney Maryanne Stewart (Catherine Keener) tries to convince the world that Arthur and the Joker are two distinct personalities. In this way, "Folie à Deux" feels like an extension of the first "Joker," even a bit of an extended epilogue, rather than solely its own movie. While the lack of shenanigans happening in Gotham (or anything outside the asylum and courthouse, really) could frustrate some, the film does honor its "part two" status, even returning to some characters and events from the first movie that helps flesh them out better."

'Trap' Reviews: "destined to divide audiences as it may be, this is one summertime "Trap" (mostly) worth springing"

         On August 2, 2024, Warner Bros. Pictures released the latest film from horror icon M. Night Shyamalan, 'Trap', which has received predominantly positive reviews from critics. In the film, a father and daughter duo attend a popular pop concert, which they soon realize is a dangerous and dark event. The ensemble cast includes Josh Hartnett, Ariel Donoghue, Seleka Shyamalan, Alison Pill, and Hayley Mills. But what did the critics say?

        Peter Gray of The AU Review writes, "Shyamalan’s script delights in, as we slowly see him come undone when he realises the extent of the police presence in the stadium; Shyamalan’s own daughter, Saleka Shyamalan, contributing over a dozen songs to the soundtrack as Trap‘s in-film popstar, Lady Raven.  Watching Hartnett flip between goofy, embarrassing father figure and concerned serial killer is a real treat, and he certainly does his best to evade the authorities by leaning into his caring dad routine, but the film ultimately starts to have an air of cycle, rinse, repeat to it as we follow Cooper throughout the stadium, all the while his daughter watching on, her concern increasing." Adding, "A bit more of a straight-forward telling from the usual twist-heavy creator, Trap hits notes both on pitch and off-key in equal measure.  A tighter pace and a clearer vision could have truly elevated this Hitchcockian-like thriller, but, ultimately, it’s one set up that doesn’t quite snare the intended interest.  It’s always a treat to see Hartnett on screen though, but his unnerving wickedness deserves a tale more committed to the darkness he so clearly enjoys channelling."

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        Graeme Tuckett of Stuff.co.nz was less impressed, stating, "The mystery of Trap – as with a lot of films on Shyamalan's CV – is this: How does such a good film-maker, make so many terrible films?"

        Jeremy Mathai of Slashfilm says, "Messy and destined to divide audiences as it may be, this is one summertime "Trap" (mostly) worth springing." Continuing, "Trap" is many things at once: a cleverly-constructed thriller centered on the unlikeliest of protagonists, a darkly comedic lark that's much sillier (complimentary) than many will expect, and a twisty genre film verging on B-movie/exploitation territory. It's also a high-concept premise that runs out of steam awfully early, accompanied by a script that's much less involving by the end than it is to start — a delineation marked by a plot point far too specific to spoil, but one that feels unmistakable in the moment as all the air is let out of the room. Above all else, however, it's another deliciously complicated addition to a filmography that simply refuses to fit into any neat and tidy boxes."

        Rodrigo Perez of The Playlist was more impressed, stating, "Subverting the genre with an audacious, unexpected structure, M Night. Shyamalan’s “Trap” takes a tonal turn, and evolves into something much darker and more disturbing." Continuing, "No spoilers from there, but as suggested, “The Trap” shapeshifts, and the drama slithers ominously shedding its skin, becoming a brand-new creature on its own and a true-anxiety-riddled rollercoaster at that. This final act may feel a little incredulous, in spots, but it succeeds nonetheless in how emotional, psychologically dark and threatening the film becomes. Suffice it to say “The Trap” is hard to review beyond the mid-point, but that’s ok, the less you know, the better (Kid Cudi does have a small cameo near the end of the second act at a diva pop star which is a nice moment of much-needed comedic relief)."