Juror #2, 2024.
Directed by Clint Eastwood.
Starring Nicholas Hoult, Toni Collette, J.K. Simmons, Chris Messina, Zoey Deutch, Cedric Yarbrough, Kiefer Sutherland, Gabriel Basso, Amy Aquino, Francesca Eastwood, Adrienne C. Moore, Leslie Bibb, Phil Biedron, Hedy Nasser, Onix Serrano, Drew Scheid, Jason Coviello, Rebecca Koon, Chikako Fukuyama, KateLynn E. Newberry, Rachel Walters, Ella Fraley, Annie Cook, Grant Roberts, Art Newkirk, and Zele Avradopoulos.
SYNOPSIS:
Family man Justin Kemp, 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 wrong killer.
The legendary Clint Eastwood’s 40th directorial effort, Juror #2 (based on a script by Jonathan Abrams), boasts an unquestionably silly premise. However, Clint Eastwood is self-aware, making sure this film is suspenseful and fun to watch as it gradually becomes more serious, working toward worthwhile messages about honesty, guilt, justice, crime statistics, and duty.
Anyone who has ever served on jury duty might also scoff at part of that messaging, which insists that weighing the evidence with fairness and consideration is a must rather than hastily arriving at a probable verdict that might not necessarily be accurate. Taking place in October of 2022, there is also radio chatter overheard talking up the importance of voting, not solely because one of the characters here happens to be running for district attorney, but also that these matters of civil duty, whether it be participating in elections or responsibly talking out a case alongside fellow jurors are worth encouraging.
Once the doozy of a premise reveals itself to be that one of the jurors, specifically #2 named Justin (Nicholas Hoult), a magazine writer expecting his first child and married to Zoey Deutch’s Ally, recognizes that the case he is serving is one he is directly involved in, things become tense and humorous but compelling and appealing to a mainstream audience or true crime obsessed crowd, begging the question of wondering what Warner Bros. is thinking releasing this in such a limited rollout that has no plans of expansion. Naturally, guilt immediately consumes Justin, with Hoult outstanding in the role, especially as the narrative gradually illuminates more about his character and how he ended up at a roadside bar near where the crime was accidentally committed.
Justin becomes understandably conflicted, knowing that the man on trial, Gabriel Basso’s James, who did have an unstable, toxic, and potentially emotionally abusive relationship with his partner, Francesca Eastwood’s Kendall, did not murder her after a particularly nasty public argument in a bar that spilled into the pouring rain outside. As several witnesses are heard from across the first act, the story changes with different versions of that scene re-enacted to fit each testimony. Nevertheless, it always ends the same way; James lets Kendall walk home and is accused of following her and killing her with an unspecified blunt object before tossing her body over the bridge and into the creek.
We, however, know that Justin was stressed out over something and glanced over at his phone while driving on that dangerous path, crashing into Kendall, knocking her over, and killing her upon landing on some rocks by the water. When it’s time to deliberate over the verdict, his guilty conscience makes him the only one suggesting to think about the case more, which is riveting since every step closer he leads everyone away from alternative possibilities of what could have happened, it could blow back on him and incriminate himself. Simultaneously, the case will keep going to trial until someone is pinned for the murder, so it’s also in Justin’s personal best interest to bury the truth.
Rounding out the jury is an ensemble of reliable, familiar faces, including J.K. Simmons, Kiefer Sutherland, and scene-stealing unknowns, typically playing characters with small secrets or for comic relief; again, this is a much funnier, more playful movie than expected. Then there is Toni Collette’s prosecutor, Faith Killebrew, steadfast in her belief that James is guilty. This performance expands the more the case is investigated and as she gives into questioning his part in the murder. And while it goes down a bit uncomfortably that a woman so concerned with protecting victims of domestic abuse blatantly happens to be wrong throughout the film, there is something to appreciate in the film’s plea to talk and think things out, to not jump to conclusions, and to not rely on true crime stereotypes.
Nothing is necessarily exciting about the craftsmanship, but the performances and overall story are mainly satisfying for such a speedy filmmaker notoriously known for filming scenes in one take. The real delight to Juror #2 is that even though the film has our knowledge way ahead of the characters, there are still plenty of surprises and much to flesh out, with an unpredictable path. Clint Eastwood and Jonathan Abrams smartly set up possibilities that don’t always come to fruition yet don’t feel like cheap copouts for steering away from that direction.
Instead, they constantly build on the drama, humor, and themes to reach a conversation-starting climax. Juror #2 starts to drag in the middle and has no business being anywhere near two hours long, but it has riveting consequential weight. Perhaps more shockingly, it might make people look forward (or at least take it more seriously) to jury duty in the future. Shame on Warner Bros. for actively burying such a thrilling, fun, thinker crowdpleaser.
Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com
