The Plot: Justin (Nicholas Hoult) is a recovering alcoholic who regards himself as a good man towards his pregnant wife Ally (Zoey Deutch). He’s called for jury service on an alleged homicide and is empanelled with 11 other jurors. The case involves the death of a woman on a rainy night, apparently at the hands of her lover. The prosecutor (Toni Collette) thinks it’s an open and shut case, while the defence (Chris Messina) thinks the evidence is unclear and that his client could not have committed this crime. As Justin listens to the damning evidence presented, something goes off in his mind which could affect the course of this trial…
The Verdict: “Don’t think too much about it” was overheard during the end credits of Juror #2. It was the reaction of one cinemagoer to another at this reviewer’s screening, perhaps distancing himself from the probing events at the core of this ticking-clock courtroom thriller. It is, after all, a work of fiction… but it’s presented realistically enough that it could also happen in the real world. It turns out that there’s quite a lot to think about afterwards and that’s not just about the plot. After seven decades in the film industry as an actor, director and producer, Clint Eastwood is reportedly hanging up his spurs at the grand old age of 94 and joining Ken Loach in enjoying his retirement. Maybe. It’s possible that Eastwood might come back for one last hurrah, according to Gabriel Basso who plays the accused in this film. If not though, the question lingers: has Eastwood gone out on a high note after a number of misfires?
The verdict from this jury of one is a resounding yes. Juror #2 ostensibly looks like a standard courtroom procedural. Dig a bit deeper though and it has an undeniable kick to it, like the intelligent legal thrillers popular in the 1980s and 1990s (e.g. Jagged Edge, Presumed Innocent) but are sadly less common in cinemas these days. The less known about the plot going into it, the better as the moral dilemma at the heart of it is a real gem. The script by Jonathan A. Abrams is remarkably polished for a first-time screenwriter in that it’s sharply focused on its main characters from start to finish. Justin is a well-rounded character, the proverbial ‘reasonable man on the Clapham omnibus’ who knows that he’s not perfect but does the best he can for his family. Around him are the kind of varied jurors with strong opinions sighted in 12 Angry Men as they discuss and weigh up the evidence against the accused. Not everything is what it seems though in and outside the jury room, while the prosecution and defence lawyers see only one opinion.
Abrams makes a bold choice by revealing the serious moral dilemma on this trial in the first act. That would normally be expected as a third act revelation, so it’s an unusual way to approach it. It works well though because it’s carefully considered, with the rest of the film then tightening the screws further, one scene at a time. It’s like watching a film in which there’s a fuse gradually burning away with the potential for explosive results in the narrative. Eastwood has made films like that before, but he shows due consideration here in teasing out the plot and a firm grip of how to portray it convincingly by working well with his actors. In particular, Nicholas Hoult has never been better as his character wrestles with his conscience about the trial and his own life. He doesn’t even have to say that much – a lot of the performance is in his eyes and the way he composes himself onscreen. It’s a layered performance that shows Eastwood’s guiding hand, but the rest is Hoult digging deep into his pockets and turning up screen gold.
Eastwood is firing on all cylinders here, delivering the kind of solid, thought-provoking film that rewards audience patience and that pays off in the end with a great closing shot. When it comes to his well-worn spurs, if he’s going to Hang ‘Em High he might as well go out on a high note too and he’s achieved that here as he rides off into the movie sunset. Well worth seeking out.
Rating: 4 / 5
Review by Gareth O’Connor
