A New York City narcotics detective reluctantly agrees to cooperate with a special commission investigating police corruption. However, he soon discovers that he's in over his head, and nobody can be trusted.
Sully is a rascally ne'er-do-well approaching retirement age. While he is pressing a worker's compensation suit for a bad knee, he secretly works for his nemesis, Carl, and flirts with ... See full summary »
A TV producer who is the mistress of her boss, tries to have him make their relationship more permanent, and begins a relationship with a younger man. When her boss hears of this, he tries ... See full summary »
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Frank Galvin is a down-on-his luck lawyer, reduced to drinking and ambulance chasing. Former associate Mickey Morrissey reminds him of his obligations in a medical malpractice suit that he himself served to Galvin on a silver platter: all parties willing to settle out of court. Blundering his way through the preliminaries, he suddenly realizes that perhaps after all the case should go to court: to punish the guilty, to get a decent settlement for his clients, and to restore his standing as a lawyer. Written by
Murray Chapman <firstname.lastname@example.org>
In the climactic courtroom scene, when Frank calls Kaitlin to the stand, Concannon is flustered and confers with one of his lawyers. We then see the lawyer leave the courtroom, presumably having been given some direction by Concannon. Later, after Kaitlin has been questioned by Frank and cross-examined by Concannon, the lawyer returns with a book containing the case Concannon cites to get the judge to disallow the admittance of the photocopy of the hospital admission form as evidence. However, at the point at which Concannon calls the lawyer over and then, presumably, sends him out to "find" this book/case, he doesn't even know about the existence of the photocopy because he hasn't yet questioned Kaitlin; it's during his questioning of Kaitlin that she reveals she has a photocopy of the form. So there's no way the lawyer would have known to go out and find a case regarding the inadmissibility of a photocopy. See more »
You know, you guys are all the same. You don't care who you hurt. All you care about is the dollar, you're a bunch of whores. You got no loyalty, no nothing. You're a bunch of whores!
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I love this film, I own a copy and I watch it at least once a year. It's hard to pick a "best work" from Sidney Lumet, Paul Newman or David Mamet, but this film ranks up there for all three. And really, when you say those three names on one film, that says it all, doesn't it?
Newman plays a down and out lawyer, a drunk ambulance chaser whose life changes when he turns down a pultry settlement offer to try a case that he can't possibly win. There are so many great scenes in this film, it's hard to pick a favorite. Possibly, the very end, the ringing phone Paul Newman ignores as he sips on some coffee, rather than whiskey, might be one of the all time greats. The scene sums up the movie so well. My other favorite is a long, single shot where Newman is on the phone trying to get another doctor to testify and Jack Warden paces the room. The camera is at the other end of the room, on the floor and the scene is about five or six minutes long, one continuous shot, beautifully done.
I read a book a couple years ago that covered blunders in film regarding court cases and apparently there were a couple in this one. But this is a film that is so great, so well done, I think Godzilla could have trampled part of Boston and Lumet could have made it believable. Although Cool Hand Luke is my favorite film of all time, The Verdict is my second favorite Newman film. See it if you can.
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