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.
U know your movies in trouble when you use a seen it before storyline, u know that movies not in trouble when you throw Tommy Lee Jones into the mix.
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.
Película de domingo en el canal cinco.
tommy lee jones, my dear friend, could you maybe calm it tf down for me there? wearing a cap backwards like that, jesus christ
Less suspensful then I remembered.
A pesar de lo irreal del argumento (un niño y una abogada novata plantando cara a la mafia y al FBI a la vez) la película está tan bien hecha e interpretada que no te cuesta nada meterte en la película. Joder, Schumacher, ¿qué te pasó después?
Solid movie, better performances.
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...
The British Academy Film And Television Awards. From 1947 to present day.
Everything I could find on the Letterboxd database.