Fracture (3 out of 5 stars) Starring Anthony Hopkins and Ryan Gosling. Directed by Gregory Hoblit.
Fracture
Elegant, old-fashioned and challenging, Gregory Hoblit’s legal thriller “Fracture” has its flaws in terms of pacing and involvement, but makes up for it thanks to a strong performance by Anthony Hopkins and a sharp script by Daniel Pyne and Glenn Gers.
Inspired by the film noir genre so in vogue these days, the story is somewhat familiar, yet the plotting is meticulously crafted enough that the proceedings ring original.
Ted Crawford (Hopkins) is a successful and wealthy engineer who spies on his wife, Jennifer (Embeth Davidtz) and her lover, Rob (Billy Burke) at a local motel. Once at home Crawford confronts his wife, shoots her and waits for the police to arrive. Turns out that the police officer in charge is Rob who was unaware not only of Jennifer’s marital status but also her name. Ted has planned the crime to the last detail, but he didn’t plan for Jennifer to survive and be left in a coma. There are several implausible plot points here, one of which is why Rob would hide his affair with the victim to his colleagues. He’s not married, so he has nothing to lose. Obviously this is a device that Hoblit uses that comes in handy later on for Ted.
We’re then introduced to hot-shot public prosecutor Willy Beachum (Ryan Gosling) who, much to the chagrin of his boss (David Strathairn) is about to leave the Los Angeles District Attorney office to join a prestigious private law firm under the direction of gorgeous Nikki Gardner (Rosamund Pike). Before he leaves, however, Willy takes on Crawford’s case, which seems open-and-shut considering the evidence. But it’s not so. It’s clear that Crawford has manipulated evidence smartly enough that in the end Willy is left with nothing.
Willy, who so far seemed more concerned with decorating his new office than with his case, is now burdened with moral dilemmas. He can walk away from it unscathed and join lover Gardner at the firm, but instead decides to fight the manipulative Crawford, and loses. But it’s not over, especially now that Crawford is free and holds the power to pull the plug on Jennifer. It’s now a cat-and-mouse race of wits between Willy and Ted, both of whom underestimated each other so far.
There’s not much suspense in “Fracture,” but there are enough intriguing threads pulled together to make the viewer sit up and pay attention. The film could have easily been lifted of some unnecessary weight, like the affair between Willy and Gardner, and mumbo-jumbo about fracture mechanics, which is Crawford’s expertise.
But Hopkins’ shrewd performance is dead-on, using few words and histrionics to reveal a ruthless and brilliantly astute killer. More disappointing is Gosling who is less convincing as the dazzling prosecutor. In fact, there are no mesmerizing courtroom speeches coming out of Willy’s mouth, and what’s with those swaying arms? Though he’s 26, he looks too young for the part.
“Fracture” may lack action and thrills, but it is clever enough for moviegoers craving quality cinema.
Fracture
Elegant, old-fashioned and challenging, Gregory Hoblit’s legal thriller “Fracture” has its flaws in terms of pacing and involvement, but makes up for it thanks to a strong performance by Anthony Hopkins and a sharp script by Daniel Pyne and Glenn Gers.
Inspired by the film noir genre so in vogue these days, the story is somewhat familiar, yet the plotting is meticulously crafted enough that the proceedings ring original.
Ted Crawford (Hopkins) is a successful and wealthy engineer who spies on his wife, Jennifer (Embeth Davidtz) and her lover, Rob (Billy Burke) at a local motel. Once at home Crawford confronts his wife, shoots her and waits for the police to arrive. Turns out that the police officer in charge is Rob who was unaware not only of Jennifer’s marital status but also her name. Ted has planned the crime to the last detail, but he didn’t plan for Jennifer to survive and be left in a coma. There are several implausible plot points here, one of which is why Rob would hide his affair with the victim to his colleagues. He’s not married, so he has nothing to lose. Obviously this is a device that Hoblit uses that comes in handy later on for Ted.
We’re then introduced to hot-shot public prosecutor Willy Beachum (Ryan Gosling) who, much to the chagrin of his boss (David Strathairn) is about to leave the Los Angeles District Attorney office to join a prestigious private law firm under the direction of gorgeous Nikki Gardner (Rosamund Pike). Before he leaves, however, Willy takes on Crawford’s case, which seems open-and-shut considering the evidence. But it’s not so. It’s clear that Crawford has manipulated evidence smartly enough that in the end Willy is left with nothing.
Willy, who so far seemed more concerned with decorating his new office than with his case, is now burdened with moral dilemmas. He can walk away from it unscathed and join lover Gardner at the firm, but instead decides to fight the manipulative Crawford, and loses. But it’s not over, especially now that Crawford is free and holds the power to pull the plug on Jennifer. It’s now a cat-and-mouse race of wits between Willy and Ted, both of whom underestimated each other so far.
There’s not much suspense in “Fracture,” but there are enough intriguing threads pulled together to make the viewer sit up and pay attention. The film could have easily been lifted of some unnecessary weight, like the affair between Willy and Gardner, and mumbo-jumbo about fracture mechanics, which is Crawford’s expertise.
But Hopkins’ shrewd performance is dead-on, using few words and histrionics to reveal a ruthless and brilliantly astute killer. More disappointing is Gosling who is less convincing as the dazzling prosecutor. In fact, there are no mesmerizing courtroom speeches coming out of Willy’s mouth, and what’s with those swaying arms? Though he’s 26, he looks too young for the part.
“Fracture” may lack action and thrills, but it is clever enough for moviegoers craving quality cinema.
