Every film that has ever been nominated for an Academy Award in any category. Enjoy!
A District Attorney Out For A Conviction. A New Lawyer Out Of Her League. A Young Boy Who Knew Too Much.
A street-wise kid, Mark Sway, sees the suicide of Jerome Clifford, a prominent Louisiana lawyer, whose current client is Barry 'The Blade' Muldano, a Mafia hit-man. Before Jerome shoots himself, he tells Mark where the body of a Senator is buried. Clifford shoots himself and Mark is found at the scene, and both the FBI and the Mafia quickly realize that Mark probably knows more than he says.
Damn good cast. Sarandon is really fantastic, and a young Brad Renfro is bursting with raw talent; his performance is a little uneven, but there are definite flashes of the actor he could have been (seriously, fuck you heroin). Jones goes a bit off type as the smarmy US Attorney. Kim Coates (not against type at all as the creepy mafia enforcer) is pretty damn good as well.
Like all of the early 90's Grisham adaptations, The Client is a solid, well made film. I think the fact that this was one of the weaker Grisham's, story wise, works against it (I still say The Pelican Brief stands above his early work in that regard). I think it's worth a recommendation, though.
Grisham is a great novelist to adapt to the screen because his characters lend themselves to great dimension, chemistry and scene-stealing. The Client is arguably the zenith of that quality in the output of Grisham films. Even aside from various highlights of well-crafted suspense and the presence of over a dozen reliable main players and character actors, there are delectably unique characterizations that, by themselves, are enough to compel me back for revisit. There's Tommy Lee Jones, playing a character who, on paper, is an inveterate bad guy. But it's the way he brings him off the page, imbues himself and his scenes with a flavor of attitude that lathers on new freshness and interest. And then there is a truly inspired, largely overlooked early performance by Mary-Louise Parker, years before Weeds, that even today could prove to be a says-it-all calling card for her.
So, can we talk about the fact that Joel Schumacher directed the two best John Grisham adaptations? (This and A Time to Kill.)
The acting is excellent, which is really no surprise considering the cast. Jones plays a U.S. Attorney with aspirations to political office. If this weren’t an adaptation I would have suspected the character had been written for him as it fits his style perfectly. Susan Sarandon is brilliant as a young lawyer fighting for someone who can’t fight for himself. Mary-Louise Parker is perhaps a bit underused, but she does an excellent job when she is there. And Brad Renfro shines in his debut. (It’s really awful that his career was cut tragically short. As it is…
Kinda frustrating to watch when the whole thing could've been avoided if the damn kid just told the cops what he heard from the get-go. But alas...kids.
This flick is entertaining enough but oh so painfully dated. Anthony LaPaglia's wardrobe is just unspeakable.
Okay crime thriller which starts well, but loses it's way towards the later stages, mainly due to some questionable plot contrivances, and comedy bumbling bad guys.
Joel Schumacher turns in a toned down legal thriller courtesy of one of Grisham's endless bestsellers at the time, with a solid as a rock cast. I love good legal thrillers, and while the length is felt at times and visually drab, it's still an engaging story and one of the better Grisham adaptations.
The Client (Joel Shumacher, 1994) 5/10
Hopelessly contrived drama with lawyer Susan Sarandon helping a kid (Brad Renfro), son of a trailer trash woman (Mary Louise Parker), who was witness to a suicide. As the kid has vital information divulged by the man before he killed himself, the FBI, the Mob (Anthony LaPaglia) and the D.A. (Tommy Lee Jones hamming it up) are all after him for their own interests. The best parts in the film are the ones between the kid and the man who shoots himself. The rest of the film is a silly cat-and-mouse game as the kid is pursued and Sarandon acts sassy as she turns into Nancy Drew looking for a buried dead body. Renfro…
Ha envejecido bastante mal, con muchos tics visuales que en su día estarían de moda pero que hoy espantan, y la parte final de la trama es absolutamente inverosímil (una abogada de divorcios y un adolescente van de madrugada a desenterrar un cadáver a la casa de un mafioso para asegurarse de que sigue ahí antes de decírselo al FBI).
La salvan las actuaciones del trío protagonista.
PD: me sorprendió gratamente encontrarme a Bradley Whitford y Mary-Louis Parker años antes de The West Wing.
Full of plot holes and things that I refuse to think came out of a book. Some good acting, but the whole story and the unbelievable third act are stupid.
Just to think of what Renfro could've been...
Ho-hum screen adaptation of yet another John Grisham pot boiler. Joel Schumacher is pretty much my least favorite director of all time, and Grisham represents the kind of author whose books instantly give me a hankering for classic literature, so the chances that I was really going to think much of this film were slim from the get go.
Good actors like Susan Sarandon and Tommy Lee Jones put a lot of effort into the material and give committed performances. But with Schumacher at the helm, trying to make a good movie is like trying to walk up a down escalator. Sarandon was inexplicably nominated for a Best Actress Academy Award for her work, more an indication of how weak a year 1994 was for actresses than how good her work in this film is.
i liked this movie, like, a lot? susan sarandon is amazing and i love her so much. tommy lee jones' character is so ridiculous lmao brad renfro was so good and when i googled him i got pretty sad ugh :c
It's a problem for a movie when the main character is someone you just want to punch in the nose. It's an even bigger problem when it's a kid. Sarandon, Jones, and the rest of the supporting cast almost make it watchable though.
Why is this film so crappy? And I am certain that it is crappy. It is a thriller and I like thrillers. Its basic situation is good: a boy knows details of a Mob killing and is caught between the Mob who want him quiet and the D.A. who wants him to speak out. The characters are stereotypes, but there are great thrillers whose characters start off as stereotypes. The emotional centre of the film is the relationship between Susan Sarandon’s lawyer and the boy: this is pure melodrama, big emotional scenes, emotional revelations, contrived situations – but I haven’t got anything against melodrama, the question is whether it works judging it by its own conventions. And in this film…
My birth year, my favorite year for film, and the year that has been the most important in forming my…