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You can skip movies 10 times but never go back.
When Rudy Baylor (Matt Damon), a young attorney with no clients, goes to work for a seedy ambulance chaser, he wants to help the parents of a terminally ill boy in their suit against an insurance company (represented by a ruthless Jon Voight). But to take on corporate America, Rudy and a scrappy paralegal (Danny DeVito) must open their own law firm.
While I feel The Rainmaker is a solid legal drama, it suffers from the same issues many other films of this type seem to be plagued with. Courtroom/legal dramas always seem to play out the same way. A hotshot young attorney takes on a seemingly impossible case, a startling discovery or piece of evidence is introduced, there's a love interest between attorney and client, and no matter what justice is served. That sameness makes this type of film at the very least predictable, and no matter how good the direction or performances are, it takes it down a notch.
In the The Rainmaker, based on the John Grisham novel, Matt Damon plays Rudy Baylor. He's an idealistic young attorney with…
Lots of talent in this John Grisham law drama. Matt Damon plays the young lawyer battling a massive insurance company. Helping Damon are Danny DeVito, Claire Danes, and Danny Glover ....while Jon Voight is the opposing lawyer who is defending the insurance company and their CEO Roy Scheider. And if that is not enough talent...how about a Rumble Fish reunion between director Francis Ford Coppola and Mickey Rourke.
This one is well done.....but it does not really cover any new ground. At no point in the movie did I think "Wow I did not see that coming"....as the movie is very predictable. Final thought: I read on IMDb that this was Grisham's favorite movie based on his books....I am not…
Sure, the direction is restrained, but this is hardly hackwork. Like a lot of Coppola’s later films, this privileges a certain wistful, romantic perspective—a young novelist’s worldview, essentially. It isn’t exactly idealistic, but tends to view everything in terms of ideals; good people adhere to them or represent them, bad people don’t.
"Most people give up. And this, of course, is intended."
Some pretty classic smuggling from Coppola, even beyond the obvious health insurance stuff or even that, duh, lawyers are dirty and the system is rigged. Here capital and by extension government subtly and deliberately disenfranchise people so it can turn them into fuel for their own engines, and the only recourse is often the same arcane extralegal loopholes they use against us.
Part of my 5 Directors x 5 Unseen Films (10) challenge.
Based upon John Grisham's 1995 novel, this legal drama from director Francis Ford Coppola has rookie Tennessee lawyer Rudy Baylor (Matt Damon) taking on a huge institution, Great Benefit Life Insurance, in his first courtroom battle. Contesting him across the aisle is a team of veteran corporate attorneys headed by Leo F. Drummond (Jon Voight).
Rudy gets into this David vs. Goliath match-up when his boss, personal injury specialist J. Lyman "Bruiser" Stone (Mickey Rourke), has to leave Memphis hurriedly amid charges of racketeering, just ahead of a raid of his offices by the police and FBI. At the urging of Stone's paralegal Deck Shifflet (Danny DeVito), Rudy agrees…
Matt Damon's legal arguments seem very convincing
Following the release of "The Firm", John Grisham adaptations were all the rage. Every one of his novels were adapted into either films or TV shows. Francis Ford Coppola brought his distinctive style of filmmaking to this adaptation of the Grisham novel that follows a fresh-faced underdog lawyer (Matt Damon) who gets the case of a lifetime: investigating a insurance company that's guilty of fraudulence. It's a little predictable. Considering that it's a legal drama about an underdog lawyer, the feelings of predictability are understandable. But with great performances from an ensemble cast, a good script and a well executed score by Elmer Bernstein, "The Rainmaker" is a solid 2 1/2 hours that's just watchable enough.
This had some Harry Potter-level inability to cut a book's unnecessary subplots.
This is my first viewing of a John Grisham adaptation and my god was I ever impressed! Everything from the superb acting to the lighting, editing, score, and camerawork just makes this adaptation of "The Rainmaker" all the more solid. Plus, you've got excellent writing, engaging dialogue, and immaculate direction from Francis Ford Coppala. In fact, this might be up there with "The Godfather" and "Apocalypse Now" as one of the best within his filmography. To me, this is the near perfect definition of how to make a legal courtroom drama and I highly recommend the hell out of this movie to just about anyone.
So, much to my pleasant surprise, this *was* a personal picture for Coppola and not just a "I need a hit" job. That Rudy and his struggles in and with the legal profession stand in for Coppola and film making is pretty hard for any FFC fan to miss. THE RAINMAKER has a widescreen, keyed-up, 1950s melodramatic sweep to it, and a plethora of wonderfully colorful minor characters being portrayed by a plethora of wonderfully colorful character actors. Coppola could have knocked out one of these every couple of years and probably made boatload of money. That he decided he'd rather make wine and experimental low-budget features is a testament to why he's a great artist.
I absolutely fell in love with Rudy. After watching this movie I felt inspired to watch any and all young Matt Damon films because my heart just swelled every time he appeared on screen. I had moments of laughter (mostly DeVito's doing) and even jumped out of fright once, so to me this film was much more than the 'courtroom drama' it's typically made out to be.
"You know what a rainmaker is, kid? Bucks are gonna be falling from the sky!"
1. There's a formulaic plot development that so many courtroom dramas tend to follow: young, newbie lawyer with uncharacteristically good intentions has to take on the seedy, evil, experienced lawyer representing the big bad cooperation in what appears to be an unwinnable case, only to have a sudden twist comprised of fate and inherited brilliance that sways the jury's opinion right around the time you start to think all hope is lost.
2. The Rainmaker follows that agenda down to the letter. It's almost as if Francis Ford Coppola was running on autopilot when he directed this one.
3. Despite the painfully…
Just an I-missed-it-in-the-nineties movie I pulled up on Amazon to pass the evening. It's not terrible, but it's strange in a bad way. Strangely meandering pace for this kind of movie, tone all over the place, oddly scored, strange casting in some instances, strange voiceover that, especially at the end, doesn't seem to go with the story very well. Which could be because though Coppola wrote the screenplay, he hired someone else to write the voiceover narration. To add to the strangeness, reviews from the year of its release are fairly glowing and Grisham allegedly loved it. So who knows.
As a side note there *were* some good movies in 1997, like The Sweet Hereafter, As Good as It Gets, Gattaca, Cop Land, and of course Romy and Michele's High School Reunion. I invented Post-Its.
Rich. Good acting but it is quite far too long in my personal taste. Felt dragging and nothing else more than that. I did watch this strictly for Cappola and only him since he's one of my favorite directors.
A solidly made, if fairly dull and formulaic, courtroom drama. Coppola is definitely working on autopilot with this film, and there isn't much that distinguishes itself from many other films of it's ilk. Matt Damon in an early role does solid work, as do all of the supporting actors. John Toll's cinematography is fine but unremarkable.
Overall the film is decent, but not amazing.
Every ten years, Sight & Sound conducts a poll for the greatest films of all time. For the 2012 edition, 846…
Every film that has ever been nominated for a Golden Globe Award in any category.