Dan the Man's Movie Reviews

All my aimless thoughts, ideas, and ramblings, all packed into one site!

Tag Archives: Tony Goldwyn

The Belko Experiment (2017)

Take a sick day next time.

An ordinary day at the office becomes a horrific quest for survival when 80 employees at the Belko Corp. in Bogotá, Colombia, learn that they are pawns in a deadly game. It all happens when, out of nowhere, a weird, sinister voice comes over the PA system, letting them all know that they are trapped inside their building and that two workers must be killed within 30 minutes. Two die and the employees think that’s all there is to it. Little do they know that plenty more will have to be killed in order for the voice to stop doing what it’s doing and let the workers go. And for some workers (John Gallagher Jr.), this is fine, because they have a conscience and don’t want people to die. But for others (Tony Goldwyn, John C. McGinley), they know that the only way to come out of this thing alive is to make the weakest suffer and die off first. Ask questions later. After awhile, it just becomes a free-for-all where no one knows who’s going to live, die, or hell, even what the end game is here.

That look you make when you’re absolutely tired of all the damn memo’s.

The Belko Experiment seems to be going for some sort of message about the current day workforce, or hell, even the government in and of itself. After all, the movie is set in Colombia, where an American corporation is held, dealing with certain issues that never become made clear to us. Is the movie trying to say that foreign relations with the States is so bad, that everyone associated with them is eventually going to become killers? Or, is it trying to say that the workforce, in and of itself, is already so vicious in the first place, that eventually, everyone in it is just going to start killing one another to be the best, literally and metaphorically speaking?

I honestly don’t know. But probably not.

See, the Belko Experiment isn’t a very smart movie that wants to get itself all bogged down in certain stuff like politics, or hell, even ideas. It just wants to kill, give us a lot of gore, and make certain office-items into weapons. A part of that can be fun to watch, but here’s the issue with the Belko Experiment: It’s just not all that fun to begin with.

In a way, it’s actually pretty depressing and dare I say it, disturbing. But honestly not in the way that it intends; writer James Gunn seems to be clearly going for some sort of darkly comedic-edge, where heads are splattered and limbs are exposed, but for some reason, there’s still a smirk on everybody’s faces by the end of the killing. However, that doesn’t quite translate here at all. The Belko Experiment is a drop dead serious movie, which could still allow for the premise to fully work, but it never seems as convinced of its own darkness, that it allows itself to go there.

It’s always just moving along, steadily and surely, but is it easy to care? Not really.

What a courageous guy. Too bad that he’ll probably have to kill her later.

And yeah, that’s what it ultimately comes down to with the Belko Experiment – it’s hard to ever really care. Sure, watching seemingly normal, everyday people go to work and be threatened with meaningless, senseless death is upsetting to begin with, but the movie’s character-development is, well, lacking. For the first ten minutes or so, we get to know a little bit about the main players of the story, but mostly, they all just come down to types, so that when things do start to go awry and characters begin to make rash, downright questionable decisions, none of it really connects, or translates.

Take a movie like It Comes at Night that, in a way, is a horror movie, but not really. That one deals with the day-to-day horror of real life human beings, being shoved the brink of madness and having to act out in heinous ways that they’ll soon regret, but did for the greater good of themselves and the ones that they love. While the Belko Experiment never tries to reach for the same heights that that movie did, it still seems to touch on the same issues of normal people, having to act out in disgusting ways, to save their asses. The difference is that It Comes at Night made us understand and believe these decisions, where the Belko Experiment seems to just, well, give us conventional types, expect us to buy them, and watch as they hack one another off.

When in reality, who cares?

Consensus: The Belko Experiment flirts with being darkly fun, but also gets a little too wrapped-up in being too sinister and mean-spirited to be as exciting as it wants to be.

5 / 10

Conservatives, or just deranged dicks? You be the judge.

Photos Courtesy of: VarietyIndieWire


Nixon (1995)

nixonposterHe was a crook, but then again, aren’t we all?

U.S. President Richard Nixon (Anthony Hopkins) definitely had all sorts of controversies in his life and career. And those constants issues with the general public and those around him actually lead-out into the rest of his life, even going so far as to drive him a little nutty. But no matter what, his wife, Pat (Joan Allen), whenever he needed some love and comfort the most, even if he wasn’t quite so sure that he could always trust her. Of course though, despite some of Nixon’s best moments as President, his career and legacy would, ultimately, be destroyed because of the infamous incident that everyone, for future generations, will come to know as “the Watergate Scandal”.

So basically, yeah, Nixon is Oliver Stone’s attempt at trying to make some sort of biopic on the life, times and ultimate career of Richard Nixon. And honestly, it makes sense – if there is any director out there who could understand the mind and brain-space of someone who has been hated and despised over the years, it’s definitely Stone. But don’t be fooled by the term “biopic”, as Nixon is anything but conventional, even if that term is exactly what it promises to be.

"Hey, Anthony? Yeah, tone it down just a bit."

“Hey, Anthony? Yeah, tone it down just a bit.”

And that is, honestly, it’s biggest problem.

Stone has a lot to work with here and even at a staggering three-hours, it feels like we got more than enough. For what it’s worth, Stone doesn’t back down from showing us the image of Nixon, both professional and personal, that we’ve all come to know and expect by now. He has to make a lot of dirty, incredibly questionable choices and decisions on behalf of the entire country and because of that, he starts to get a little crazy and act out in ways people don’t expect him to. Stone doesn’t seem to be fully judging him for who he is, or better yet, what he represents, and that’s what works best in the movie’s favor; it’s setting out to tell us a little more about the one President that most of the country has learned to grow and dislike more with each and every passing year, and not shy away from some of the more grittier, meaner aspects of his life.

And because Nixon doesn’t back away from the not-so pretty things about Nixon’s life, it also can sort of seem like it has nothing to really say about its central-figure. Even though Stone tries his absolute hardest to fool us into thinking that this isn’t another one of those typical biopics we tend to get around Oscar-season, what with the quick-editing, non-chronological format, etc., it’s still not hard to look at this as, yet again, another biopic of someone that we think we know, but don’t know every little detail about, to the day that he took his first breath, to his last one. But the movie also begs the question: Do we really need all of this? Is there a point to this never ending focus on this one man in particular?

Well, the answer is yes and that’s because Anthony Hopkins is the one playing the lead role.

"Okay, maybe I'm a little bit of a crook. Just a little bit, though."

“Okay, maybe I’m a little bit of a crook. Just a little bit, though.”

Which is, yes, definitely fine, because no surprise here, but Hopkins does a terrific job as Tricky Dick. Of course, Hopkins himself has a lot to do and work with, playing up the usual mannerisms of Nixon, without seeming like a cartoon and still sinking into the role, despite not looking a single thing like him, but still, there’s something missing here. It’s a performance that does a lot of shaking, yelling, standing, and heavy-lifting, but it’s also one that seems to just be about the actual actor, and not about the actual character/person being portrayed or brought to us. Watching Hopkins do what he does best is a treat, but still, when he’s clearly not working with solid material that gives him more than just another chance to chew the fat, it’s a bit of a slog to watch. It’s almost as if we walked into an empty-theater, just to watch Hopkins himself rehearse and go over his lines, but rather than letting us go out the doors and into the real world, the doors are locked and we’re somehow trapped, forced to watch and be inspired by the thespian that is Anthony Hopkins.

Sure, that may not sound as bad to some, but watching it all play out in Nixon can get to a bit tiring.

Especially when the movie is, like I said before, is a little over three hours long. And while it’s not the Hopkins show the whole way through, what with the likes of Joan Allen, Powers Boothe, Paul Sorvino, James Woods, and Ed Harris all showing up and doing their things, it still feels very much like a vanity-project that was created solely for Hopkins and no one else. Stone may have had something interesting to say about Nixon’s actions, his public-appeal and how he’s become a “crook”, but it gets lost in between every scene that features Hopkins screaming and hooting at the top of his lungs. Sure, that’s enjoyable to a whole bunch of people, but when there’s no real rhyme or reason for all of the hooting, hollering and screaming at the top of the lungs, then it just gets tedious.

Which is something that I’d never thought I’d have to say about a Hopkins performance.

Consensus: Despite a warts-and-all depiction of Nixon’s story, Nixon still feels very much like a movie created solely so that Anthony Hopkins could work shop the whole entire three hours and make himself happy.

6.5 / 10

See? He's a happy Dick!

See? He’s a happy Dick!

Photos Courtesy of: Cydney Cornell, The Ace Black Blog

The Mechanic (2011)

Everyone needs a good mechanic. But for life.

Of all the high-order assassins in the business Arthur Bishop (Jason Statham) may be the best there is, or that there has to offer. Bishop carries out his assignments with precision, detachment and adherence to a strict code, so that he never feels a single sting of emotion throughout his body when he’s completing these sometimes grueling and dangerous tasks. However, Bishop’s one and only true friend, Harry (Donald Sutherland), who also acted as something of a mentor, is tragically murdered, leading him to automatically think of who did it and just how they can be held accountable for their actions. Along for the ride is Harry’s son, Steve (Ben Foster), who is just as fired-up and upset about his dad’s death, but also knows that in order to extract revenge the right way, he’s going to have to listen to Bishop on everything he says, no matter what. And most of all, he’s going to have chill that energy down a whole lot.

I'm not worried. He knows why he's jumping.

I’m not worried. He knows why he’s jumping.

You’ve seen one Jason Statham movie and guess what? You’ve practically seen them all. Honestly, there’s not necessarily a problem with that; his screen-presence is still one of the most charming around that no matter how many times we see him beat the hell out of people, blow things up, and shoot big, heavy guns, we still love him and want to see more of him. Does that always mean that the movies themselves are all that great? Not really, but then again, they’re action movies – in today’s day and age, action movies hardly ever satisfy each and every person out there in the world, so the fact that Statham still does them and doesn’t show any signs of stopping, even while he’s nearing 50, is quite admirable.

And another reason why a movie like the Mechanic, as mediocre and fine as it may be, is also a solid reminder of what can happen when a Jason Statham movie actually seems to be trying.

For instance, the Mechanic is a little more than just another one of your typical Statham-vehicles – it’s also got another character to deal with that makes the movie more than just watching Statham do his thing. Ben Foster’s Steve is a solid character in a movie as crazy as this, because while he’s so incredibly high-strung and, honestly, over-the-top, there’s also still something of a bleeding heart at the center of this character. Sure, the movie could almost care less about how, or what he feels, but honestly, there’s something there with this character and it’s because Foster is such a good actor, that he’s able to make something as silly as this, the slightest bit meaningful.

Who can be balder?

Who can be balder?

Of course though, he also does a great job of creating some sort of chemistry with Statham, which looks as odd as it sounds. However, what’s so surprising about this pair, is that they actually do work well together; Foster’s wild card character, is a perfect match for Statham’s cool, calm and collected demeanor that never seems to falter. Together, the scenes of them shooting and taking down bad guys, while generic, also brings a certain flair of energy and joy because, as you can see, they’re having some fun here. Statham is, as usual, doing his usual act and is just fine at that, but Foster brings out a little something within him that, quite frankly, isn’t always seen from Statham.

Not totally a problem, but hey, every so often, it’s nice to get a reminder that Statham himself got his start on Guy Ritchie flicks and whatnot.

But either way, the action of the Mechanic is good enough for all of the junkies out there. It doesn’t necessarily light the world on fire (literally), but because director Simon West is more than capable of wading himself through all sorts of wild and crazy havoc, he does a fine job at making sure that it all works out. It’s effective in the kind of way that we can tell what’s going on, to whom, and what sort of effect it may actually be having on the characters involved. Yes, it sounds really stupid when speaking about an action flick, but it’s the small things like this that count the most and help make a seemingly conventional action-thriller like the Mechanic, seem like so much more.

Even if it is also just another excuse for us all to watch and admire all of the bad guys that Statham takes down and kills.

That, to be brutally honest, may never get old.

Consensus: Despite it still being conventional and predictable from the beginning, the Mechanic is still a solid Statham-vehicle that has all sorts of action and explosions, but also benefits from the much-accepted presence of Ben Foster.

6.5 / 10

Eat your heart out, ladies. Oh and guys, too. Definitely guys, because, seriously, why not? He's the 'Stath!

Eat your heart out, ladies. Oh and guys, too. Definitely guys, because, seriously, why not? He’s the ‘Stath!

Photos Courtesy of: Aceshowbiz

Divergent (2014)

Conform, OR DIE! It’s like high school all over again!

Sixteen-year-old Beatrice (Shaliene Woodley) is like any other normal teen living in Chicago, except that she isn’t. See, what separates Beatrice from any other American teenager (see what I did there?), is that the world she lives in is a bit different. This is Chicago, after it’s been destroyed by all sorts of war, havoc and absolute mayhem where, to ensure safety among the common-people, society is broken-up into “factions”. The factions are meant to bring people with similar interests together, judged solely by their personalities or what they desire to be. In other words, they serve as a purpose to give most of these people reasons to live on and conform to certain ideals that are put down onto them. Beatrice is, at first, apart of the Abnegation team, where she grows her own food and clothes, and is basically a hippie. However, she has this weird ability where she is able to think for herself and question authority – something that the rest of society doesn’t accept, nor do they ever want polluting their minds. Therefore, rather than causing trouble, Beatrice joins up with the Dauntless team, where everybody goes to the gym, beats the shit out of one another, and parkours from one area, to the next. It’s a big step for Beatrice, however, it’s one that she tries her hardest to succeed at, which is mostly thanks to her non-stop training, as well as the fact that one of her teachers (Theo James) takes a liking to her and, in ways, may be exactly like her: A free-thinker that doesn’t listen to what everybody around them tells them. Aka, a “divergent”.

Dun dun dun!

Sorry that premise took so damn long to write, but I think in order to understand what all of this hullabaloo means, I have to go into some heavy-detail about the setting. Well, actually, I could have probably made it easier on both of us and just said it is something of a “Communist government, mixed with a lot more funky dress-styles”, but I don’t think that would have gotten the point across well enough. Just know that this is an adaptation of a young adult novel, that’s set in the post-apocalyptic future, features a female lead, has a lot of violence, political-themes and a romance at the center.

"Cut me out of Amazing Spider-Man 2, see what happens!"

“Cut me out of Amazing Spider-Man 2, see what happens!”

Oh, and by the way, it’s not the Hunger Games.

However, you probably wouldn’t really be able to tell the two apart, since it’s so damn clear that this is what this movie is being made-out to be. Which, granted, isn’t such a bad thing, just as long as the material can hold itself up. I mean, hell, even the Hunger Games, before it was actually considered “respectable” amongst humans that weren’t teenage girls of gay men, was being advertised and hyped-up as “the next Twilight“. Thankfully, that never turned out to be wholly true, but so be it; this is exactly where most major, motion-picture studios are going to be putting their money into and we all might as well accept it now, or suffer long, excruciating deaths from fan-girl mania.

But anyway, I’m just talking too much out of my rump. With this movie, Divergent, there’s nothing really new we haven’t ever seen done before, or hell, even heard discussed. Sure, the idea of everybody having to conform to a certain group, in order to feel socially-accepted or be left homeless, or even worse, dead is a neat one, but it feels like a retread of what most young adult flicks have been trying to do as of late. They continue to try harder and harder to discuss politics in an underlining way, but instead, come off more like their preaching and obvious, rather than actually being sly about it.

Though, what separates this flick from most of the other YA adaptations out there, is that director Neil Burger actually feels dedicated to this material, and isn’t too afraid of getting deep down and dirty with the places this story ends up in. First of all, it’s a pretty violent movie. Many young boys and girls are seen to be either shooting each other with fake, but realistic-feeling guns; throwing knives at one another; having sparring-matches where the loser is decided by whomever passes-out first; and be forced to take a test where they have to figure themselves out cruel, disturbing nightmares of sorts. In ways, it’s actually a bit more violent than anything either Peeta or Katniss have ever done, yet, it still feels like it’s not really doing anything. It’s just being harsh and putting its audience in an awkward situation where they have to watch a guy beat the crap out of a girl, all in order to “fit in” among a group of other fellow “He-Men Woman-Beaters”.

Burger, despite the fact that the material itself is a bit too jarring for even its target-audience, still at least puts enough effort into this where the action is suitable, yet, you will still be longing for more. Mostly though, that’s exactly where the cast comes into play, because everybody here, isn’t just talented, but more than capable of handling this material. It’s only really a matter of whether or not Burger gives them much to work with in the first place; and sadly, he does not.

The only two in this cast that Burger seems to utilize the most, and for all of the right reasons, are both Shaliene Woodley and Theo James as our new, “Edward and Bella”, or, for more of those tougher-fans out there, “Gale and Katniss”. Regardless of this obvious, yet very true, comparisons, James and Woodley are great together, all because you can feel the sexual-tension between them just getting more and more rich over time – as it should. Alone, they’re just fine: Woodley really is continue to grow into one of finer, more interesting young actresses of today; whereas James is a total hunk that will have the ladies swooning, even before he takes off his shirt. However, when they are together, whether they’re arguing over rules and regulations of how to become apart of the Dauntless, or just making small, somewhat flirty, talk, they’re constantly making this flick better and a whole lot more believable. In fact, I’d wager to say that the movie is worth just seeing for them, and them alone, as the attention to their characters and their relationship in the first-half, is what makes it so watchable in the first place.

But, as expected, things start to go off-the-rails by the end, as it becomes more and more clear that this story is dealing with a “higher-power”, as well as more of an ensemble that’s absolutely wasted. Also, not to mention the fact that the movie is close to being about two-and-a-half-hours long, which is long for any movie, especially a YA adaptation. Hell, it even makes Need For Speed feel like a Saturday morning cartoon!

He's so hot, and he acts like he doesn't know it. By doing so, he only makes himself even hotter. Gosh damn him!

He’s so hot, and he acts like he doesn’t know it. By doing so, he only makes himself even hotter. Gosh damn him!

Anyway, what goes so wrong with this story is that it begins to just get more and more serious, and therefore, getting way too over-blown to where you don’t really if they even plan on making sequels to this and want to cram everything in, or, if this is really how jammed-up the actual story is with all of its ideas. Either way, it feels like a little too much for the starter-up of a franchise and even worse, none of it really feels believable or exciting. It’s all pretty boring, if only because we’ve seen it done a million times before and, in most ways, better, too. They definitely leave a lot left open for a sequel, or hell, maybe even two, but most of the ideas here could have easily been placed into them, for the betterment of its high-strung, core audience.

Like I was saying earlier though, about the cast: It isn’t just Woodley and James that this movie has packed-in, there’s a pretty solid ensemble that I feel like any director, with any material other than this, would have utilized so perfectly. However, here, they all just feel like a good waste of talent, time and money (although I’m definitely sure most of these stars got a pretty nice beach house out of the ordeal).

After the Spectacular Now, it’s weird seeing Miles Teller and Woodley in a scene together where they aren’t making love or flirting, but such is the case here where Teller plays a huge dick that is constantly antagonizing everyone around him, especially Beatrice; Maggie Q seems like she’ll be the only voice-of-reason in this new world, as the first gal who realizes Beatrice hidden talents, but is only around for a few scenes where she gives people tattoos and doesn’t kick anybody’s asses (which, if you’ve seen a single episode of Nikita, you’ll know is a huge shame); Jai Courtney plays another muscle-bound a-hole that doesn’t take no wussies around his part of town; Mekhi Phifer is barely ever around, despite his character being the leader of the Dauntless’; Ashley Judd, Tony Goldwyn and Ray Stevenson made me happy to see them show-up in something for a change, even if they were given barely anything to do; and probably the biggest sin this movie achieves is that it wastes Kate Winslet, giving her the “one-note baddie role”, where all she does is act mischievous and order mass-wide genocides. And why is that, may you ask? Well, it’s because she’s supposed to be a bitch. Or something like that.

Who knows?!?! Who cares?!?! Right!??!

Consensus: The post-apocalyptic future laid-out for us is a bit more grim than what we’re used to seeing in YA novel adaptations, but aside from a sparkling chemistry between Woodley and James, nothing in Divergent really stands-out to separate itself from the rest of the same types of movies that have been released in the past decade or so.

5 / 10 = Rental!!

Well, I hate to say this, but if these were my parents, I may have done it sooner.

Well, I hate to say this, but if these were my parents, I may have done it sooner. But, then again, that’s just me.

Photo’s Credit to:

The Last Kiss (2006)

Cheating, breaking up, making up: that’s the way love is sometimes. Or at least when you’re going through a mid-life crisis that is.

Thirtysomething couple Michael (Zach Braff) and Jenna (Jacinda Barrett) grapple with parenthood and other life-changing events. Instead of pushing him toward the altar, Jenna’s impending pregnancy has only made Michael feel more trapped. So when he meets flirtatious college student Kim (Rachel Bilson), he’s tempted to stray.

After the total success of the great film, ‘Garden State’, many people were trying to use Zach Braff in any way they could because thirty-somethings from all-over-the-world were in love with him. It’s not a real shame that this is what they ended up with, but they could have gotten something better.

The script written by Paul Haggis (‘Crash’) creates an honest look at modern relationships with all of the fun, love, and even heart-break that can sometimes occur during a relationship. I felt like a lot of what they were talking about here and how everything played out seemed very honest and realistic. Most of this is coming from a guy’s perspective as well but I still had to say that whenever a script comes around, that shows the way love really is, how it feels, and what it should be like, then it’s enough for me to appreciate it. This is why it’s such a real disappointment when things start to get a little hoaky by the end.

I can’t give too much away but somebody utters the words, “never give up” to Michael and this guy literally takes that piece of advice and uses it, which to some may seem sweet and totally romantic but to others like me (basically heartless assholes), this may seem a little cheesy and sort of against the whole film and what it was trying to at least go for. The ending is also stretched longer than it should have been and instead it took forever to get to the last shot, and even that was a disappointment by how it just ends. But then again, I don’t want to say what happened.

The film does have this very fun approach at the beginning, with all of these different characters doing their own thang, having fun, making jokes, and making sexy-time as well. This was good but it soon then begins to narrow down slowly but surely to just being about Michael and his little dilemma that he pops up into, while the other ones just totally disappear and have no real end, they are just gone from the picture completely. This was a bummer because there were plenty of other stories that had promise and they could have tried using to wrap-up real nicely at the end of the film but I never understood why they didn’t do that, instead of just ending with one story basically.

A lot of it seemed trimmed down to where director Tony Goldwyn can’t really do much other than just throw in a real cheesy montage and end the film, rather than actually have it actually impact anybody who’s watching. Although there are parts that certainly stand-out more than others, I was kind of bummed to see such a real talented and great cast sort of go to waste with a story-line that seems to bring the film down a bit by the end.

As messy as this film may sound, or at least how I make it sound, the cast is what really keeps this film moving and getting better and better by the second. Zach Braff uses his usual lazy charm that always seems to get a win for anybody who’s watching, even though he’s essentially playing the same dude in every film. Jacinda Barrett gets a real good role as his pregnant girly-friend, Jenna, and shows exactly why she is so amazing to have as someone who loves you and why Michael is such a dick for questioning in the first place. Rachel Bilson plays Kim, and I think the film was trying to make her the same kind of quirky character Natalie Portman was in ‘Garden State‘, which isn’t a bad thing because her performance is good but I could see where they were going with this character. Surprised that she can actually act though.

The ones here that I actually thought held their own the most was Blythe Danner and Tom Wilkinson as Jenna’s parents because their whole little love-life starts to fall-apart too, and this is what brings out the most in them. Danner is great as this very messed-up and very sad lady, who just can’t seem to get over the fact that she doesn’t get any lovings from her hubby. Tom Wilkinson is amazing with every scene he gets especially in the end, where he impacts not only the characters in the film but also the whole story as well.

Consensus: The Last Kiss has some great touches of honesty about love, life, and hitting a time in your life where you just don’t know what you want, but that all soon starts to fall down as the film gets a little hokey by the end and loses sight of all of its characters and rather just focuses on one.


Conviction (2010)

I definitely know that my little bro would not do this for me that little bastard.

Convinced that her brother, Kenneth (Sam Rockwell), has been unjustly convicted of murder and incompetently defended by court-ordered attorneys, high school dropout Betty Anne Waters (Hilary Swank) puts herself through law school in order to represent him in his appeal.

Last year I was supposed to see this at a press screening but for some odd reason, never actually got to it, so I just ended up waiting for it to one day pop-up. When it finally did, I kind of felt bummed by what I missed.

This story here is a true under-dog story that usually gets schmaltzy and feels like a “made for TV” film but somehow director Tony Goldwyn makes it better than just that. The story telling here was not easy to pull off because it all takes place in 16 years of visitations, back-story, courtroom dramas, and marriage problems but Goldwyn does well when it comes to setting up a pace and sticking to it well.

However, where this film fails is within it’s right to actually keep me glued into the story even when I knew all that was going to happen. Right from the get-go, I knew what was going to happen, but then again so did everybody else who watched this and I mean even though its pretty formulaic and predictable it was still fun to watch, but with barely any surprises.

The problem with this film though is that I feel like they had a lot to say about the judicial system and how they are not always right but for some reason, this film only went down that road about twice and that was it. I think with the type of material they had here and the constant showing of mishaps with the actual courtroom system and how evidence is handled and whatnot, that they could have said a lot while still being able to tug at our heart-strings, but only mildly does both.

The real strength of this film though is the cast at hand, and let’s just say it’s a pretty-looking bunch we got here. Hillary Swank is good here as Betty Anne Waters but my problem with her was that her character just has the same look on her face the whole time, and didn’t really give us any real reason to care about her. This wasn’t Swank’s fault but the script could have helped her more. Minnie Driver is also good as the smart-assed best friend of Betty; Peter Gallagher is awesome as Barry Scheck and just had me staring at his eye-brows the whole time; and Mellisa Leo, Juliette Lewis, and Ari Graynor chew up some good scenery as well.

The whole cast is good but compared to Sam Rockwell as Kenny, they are totally forgettable. Rockwell plays up all the charm and humor that he always puts into his performances but he also puts in a great deal of sadness and depression that this character goes through while he’s in prison. Since we only see him through the visitations at the prison, it would be incredibly hard to develop a character solely on that but Rockwell is great at keeping our attention on him the whole entire time.

Consensus: Conviction features plenty of good performances from the cast, especially Sam Rockwell as Kenny, but too much of it feels like the usual, under-dog story we get on cable and in the end, feels like a film that could have went more for the gut than the heart but instead chooses the latter.