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'The Client' is perhaps one of the many films that won't be enjoyed as much after one has read the book. I, having not read John Grisham's novel, quite enjoyed it. Sure the movie has its flaws in the form of plot holes, caricatures, obvious clichés etc, but it essentially manages to keep the viewer engaged. 'The Client' is further backed up by strong performances. Susan Sarandon makes full use of her powerful screen presence and easily stands out. No wonder she's an exceptional actress. Reggie Love is one of her most memorable performances (among the so many she's already given). The late Brad Renfro, as the young Sway, is very competent and does impress in several scenes. Tommy Lee Jones is funny (both intentionally and unintentionally). From the supporting cast, Mary-Louise Parker leaves a mark. William H. Macy barely has more than a few lines but has a dignified presence. The villains both look and act like caricatures. In a nutshell, it's an interesting film with a flawed but gripping plot and marvelous performances.
Susan Sarandon should stick with the tough minded lawyer more often. Perfectly cast in the role of Reggie Love, she brings a certain charm to a role which could have lacked in that department. And to make matters even tougher on her, she was almost outshined by Brad Renfro, who made quite an impression in a film such as this. While the film was put together in a rather conventional way, with Tommy Lee Jones playing an over clichéd character, the film is still rather gripping. A decent film to have in your collection, and one of the better John Grisham book-turned-movie adaptations.
Wow, what a cast! And they all deliver the goods too. Susan Sarandon is
an exceptional actress. Watch the scene in "Dead Man Walking" when she
visits the family of one of the victims. She doesn't just sit quietly.
She actively "listens" to them. And Tommy Lee Jones uncovers the comic
side of his dashing political lawyer. Even the eleven-year-old kid
gives a spot on performance, anything but cute, which is a relief. The
smaller roles are equally well done although there is less to be done
well. J. T. Walsh is always good. Mary-Louise Parker never makes a
wrong move as the stressed-out mother. Ossie Davis is a monumental
presence as the judge. Bill Macy is given only a few lines.
The script isn't bad either, especially in the first half of the film, in which the characters are being established. There are, alas, three clichés.
The bad guys LOOK like move bad guys usually look. They dress in black, have long greasy hair, are engraved with threatening jailhouse tattoos of barbed wire and things, and they never seem to enjoy themselves.
There are also two stereotypical scenes which really should have been avoided. In the first, the boy, Renfro, is trying to sneak out of a hospital. He pokes his face through a door into the reception room, where he sees his mother and two cops walking around. In the shadows he also spots the man he knows is trying to murder him. So what does he do? Does he run to his Mom and the police for protection? Certainly not. He does what aay potential murder victim would do. He dashes away from safety, down several flights of an empty stairway, followed closely by the squinter with a knife. The scene that follows is lifted straight out of "Coma," with the killer being locked in a refrigerator.
The other stereotyped situation is towards the end, when (just by the most improbable of coincidences) Sarandon and Renfro reach an empty boat house at the same time as three of the heavies. The two innocents try to avoid being discovered. There is a lot of tiptoeing around on creaky boards, a foot chase through some bushes, one of those scenes in which one person holds a gun on a second, and the second smiles and says, "You don't have the guts to pull the trigger," and walks up closer to the muzzle.
I've pointed out these weaknesses not because this is a bad movie. It's really pretty good. But the cast is so outstanding that any weakness in the story is the more highly illuminated.
See it, if only to see the range of facial expressions into which Jones is able to fashion his face.
*** This review may contain spoilers ***
This movie is completely formulaic, melodramatic, and contrived. Everyone
but William H. Macy overacts to the point of charicature, which is
appropriate, since the film is a charicature of its genre.
To be specific, I think the movie fails on 3 fronts:
1) The plot is rife with logical nonsequiturs. At the very core, the entire basis for the movie falls apart with any scrutiny. The kid is only a threat to the mob if he DOESN'T talk - once he talks, the damage is done, and he's of no interest to the mob (I don't think the mob kills kids for telling the cops what they know!). So, to protect himself, the first thing he would do is squeal. Even ignoring the big plot lapse, there are several aspects that leave you scratching your head, like why is it that the DA, who's trying to convict the mob assassin, is the BAD GUY in this? Why is the kid so mad at his lawyer? Why did the kid break out of jail - it was the only place he was safe! These nagging questions just go on and on as you watch this movie.
2) The actors overact. In the case of Tommy Lee Jones,he does a great job in creating a slick, manipulative DA (see above), but it is so cliche, as to be cartoonish. Susan Sarandon does a good job, also, but it's not really a role that should have been oscar-nomination material - aside from her past life troubles, there's not much there for her character. My complaint with her is that her character is, again, cliche. The most egregious bit of overacting belongs to Brad Renfroe, though I blame the director. As opposed to sympathizing with him, his yelling and cursing tantrums made me want to slap him. He was way over the top.
3) The movie was sheer formula; predictable, familiar. Little kid takes on the evil and/or incompetent adults - and, of course, wins. Throw in the rediculously cliche mob wiseguy, the slick media-savvy DA, the good-hearted, smart-as-a-whip, beautiful female attorney, the wise, self-confident unflappable southern judge (black, for good measure), and the secretly menacing cop, and voila! It's basically a 60's Disney movie on steroids. The cute, snappy repartee between the lawyer and the DA, wherein the (female, of course) 2-years-out-of-law-school domestic relations lawyer goes toe-to-toe and holds her own with the powerful, iron-fisted DA, typifies this movie.
Judging by the vast majority of other comments, I can see that most people weren't as put off by this rather typical John Grisham-Hollywood concoction as I, so it must be entertaining to a large audience, but please don't confuse it with good cinema.
Mark Sway is a real hero here, although he is not only a mere child, but a
disadvantaged child in the middle of adult power structures breathtaking in
their deviousness and casual cruelty.
The theme of youngsters forced by
circumstances into adult roles and responsibilities,
particularly in being more level-headed and mature
than their parent(s) has become as strikingly
common in contemporary literature as it was strikingly uncommon until about
a generation ago. But there are ample
parallels to real life in pre-Romantic history.
It is really our modern assumptions of prolonged childhood
adolescence which are abnormal in the fuller perspective of human
experience. Aren't we on the verge of these concepts'
retreating from the apogees to which western culture
pushed them in the 19th and early 20th centuries?
If so, this film is on the cusp of the trend. Yet it might never have worked but for the director's good fortune in locating Brad Renfro for the lead role. What a find! His earthy, protean spunk and obliviousness to any cute brown-nosing towards his elders, simply because they are elders, make him entirely convincing in the part. He is, I hope, on his way to being a great actor, but perhaps it will continue to be this film which shows his freshness most clearly.
Not that it isn't very taut cinema in other regards. The build up of drama in the opening scenes is superb, with acting, cinematography, and the score all combining to provide a seamless experience. As one critic put it, it starts like a house afire, and the fire never goes out. This is a film one can see again and again, noticing additional fine touches each time.
Back in 1994, I read this book and just like other John Grisham's novels,
with the exception of "The Pelican Brief", once I started reading, I
couldn't put it down.
Director Joel Schumacher and Screenwriter Akiva Goldsman did an excellent job keeping the movie within the storyline without doing a horrible "hatchet job" most do to novels.
In addition, there was an excellent flow to the movie. It kept moving along; There wasn't very many slow moments in it and it kept me on the edge of my seat.
The casting was great as well. I liked Susan Sarandon as Reggie Love, Brad Renfro as Mark Sway, Tommy Lee Jones was a perfect fit as the "Revered" Roy Foltrigg. Will Patton as Sergent Hardy, was an excellent sleezy and conniving officer.
When I saw Anthony LaPaglia as Barry "The Blade" Muldano, I didn't envision the greasy sleezeball he portrayed, but someone more tougher or perhaps more thuggish. But Anthony LaPaglia fit just fine.
This is a movie worth renting.
"The Client" is an enjoyable and well executed thriller overall. While the
directing, script and overall product are far from amazing and sometimes
quite bland, the Oscar level performances compensate for the easily
Perhaps the child of the title, Brad Renfro, can be annoying in parts he gives a decent enough performance nonetheless. Too bad about the drinks and drugs problem he has today. Susan Sarandon gives another terrific performance, this time as an alcoholic lawyer. Tommy Lee Jones' character doesn't have much to do with the plot but he's a welcome addition to the film, even though.
While it is easy to find fault with the film it's easier to just sit back and enjoy it. I chose the latter so I thought it was a good, if not spectacular movie overall. 6.8/10.
The Client is a good film with moments of extreme greatness especially
for a courtroom thriller such as this. But there are also scenes where
they should have been added into the editing room. The film was
excellent in the beginning, slows to a crawl in the middle, and picks
up in the end. If it stayed like the beginning, this film would have
After a 11-year-old kid and his brother witnessed a suicide, the kid hires an attorney to help protect him and his family from threatening mafia members and a stubborn Federal District attorney.
The acting is very good in this film. Susan Sarandon seemed like she was born to play this role. She was just perfect! For a kid who never acted before, Brad Renfro was brilliant as the snobby 11-year-old.
Overall, this is a slightly above-average crime thriller. Sarandon steals the show as her role of the attorney. Joel Schumacher directed a masterpiece compared to the Batman films he would take over after this film. I rate this film 8/10.
Somehow the plot holes didn't seem so glaring in Grisham's novel. Anyway, this is one of Susan Sarandon's many excellent performances. And Tommy Lee Jones gleefully chews the scenery here. You might think he is overacting, but he is really playing a character that comes across that way. Brad Renfro was an excellent find for this part. I haven't seen him in anything else, though. I imagine his Southern accent will hurt in getting other roles. Current TV stars Bradley Whitford and Anthony Edwards were non-entities in this film. It's a good film, not great. Grade B-
Mark Sway (Brad Renfro) and his little brother are witnesses to the
suicide of a mob lawyer. After his brother falls into a coma and he
becomes the target of the mob and the federal prosecutor (Tommy Lee
Jones) he is forced to hire Reggie Love (Susan Sarandon) who is an
attorney with a chequered past and a courageous heart.
The direction and story are both very strong, and i thought Jones and Saradon both put in great performances; and even if i did find new-comer Brad Renfro's character a little annoying at times, it wasn't at detriment to the film.
The Client is a tense and dramatic thriller that has enough entertainment value to forgive it, its minor plot holes.
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