Criminal Law

I keep seeing the word 'mess' when reading reviews for Criminal Law, & after having watched it for myself - I understand why. Great character leads, a promising plot, & attempts at bringing light to the spectrum of human morality, cannot save the fact that the story crumbles in on itself about halfway into the movie.

Had the writers kept it simple instead of dabbling into the history of the antagonist, Bacon, what with the topic of abortions & the view of good/evil in the eyes of God, it might've made for a more exciting film. It would've garnered a higher rating from me if it hadn't all fallen apart at the end. Characters change into totally different people, their actions not suiting the personality they've established for the audience. In the last 10 minutes, you can see how everything is going to unfold, as much as you may wish it wouldn't... leaving little to no resolution & one of the worst cuts to the credits I've seen. All in all, a decent mess of an 80s thriller.

In 1988's Criminal Law, Gary Oldman plays Ben Chase, an attorney who defends a man, Martin Thiel (Kevin Bacon) accused of a particularly vicious murder. With clever lawyering, he gets Thiel off, only to realize shortly afterward that Thiel is guilty and out there killing again.

This time, though, Thiel is playing a mind game with Chase and wants to retain him when suspicion falls on him for a second murder that Ben knows he committed. Ben wants to right the wrong of the first "not guilty" plea so he agrees to work as Thiel's attorney, hoping for inside information that will convict the man.

This is very interesting premise, though the various themes get lost in an uneven script that tries to do too much. The focus actually becomes the performances of Oldman and Bacon - Oldman giving a very emotional performance and Bacon a very cold one.

Posts here have pronounced Oldman as hammy - hammy to me is when a performance is bigger than the emotions underneath so that the performance seems phony. Here, the character of Ben seemed to be truly overwrought, and the emotions came from a real place.

Oldman at any rate is an interesting actor, and this material in the hands of a lesser one would have made it dismissible. As it is, the film survives on the basis of the work of the two actors.

Honing in on one theme rather than several would have helped "Criminal Law." It tries to tackle psychosis, legal technicalities, the law versus justice, attorney-client privilege, mystery and romance in one script. When it comes out of the Mixmaster, it's all pretty vague.

Tangled in its superficiality, trying to be something more than just an ordinary thriller (and that's what this really is) about an psycho out of control "Criminal Law" wastes everything and everybody. Sadly, the movie couldn't warn us earlier, like 10 minutes from watching this and you would had the chance to know this might be an disaster and simply walk out of it. No, it goes quite well until the plot creates a mess bigger than the Everest and the K2 together (and director Martin Campbell, director of this, was in the latter in "Vertical Limit"), and worst, some of us want to climb it until the end but we can't. Why? Because we're not "trained" enough like the screenwriter from this flick. He and only he can decode this messy picture.

And to think of how good this could be! Gary Oldman plays an lawyer who just made his client Thiel (Kevin Bacon) free from jail, accused of rape and murder of a woman. Everybody's happy until a new wave of crimes similar to the one thrown on Thiel start off again. But this isn't like "Just Cause", the guy won't say he isn't guilty, rather than that he's gonna commit more and more murders AND will rub on his lawyer face (that lousy privilege between client and defendant) his next moves. It's up to this man to find a way to stop this criminal. Pretty exciting, isn't it?

"Criminal Law" becomes problematic when it decides to include random and uninteresting subplots about abortion, Thiel's family, and the lawyer's love interest and then it connects all of this parts together and mess it up real bad. It pretends to be real clever but it never succeeds. Take all that out and trade to saying something about ethics, difference between law and justice (they tried something about that but it wasn't enough), make a substantial dramatic film rather than 'to catch a serial killer' kind of thing and then we would have at least a decent movie, a relevant one.

By all means, this is a poorly executed film that only wasted good actors in giving them bad scenes to perform with. Being the script the worst thing of it, we must be ashamed to testify Kevin Bacon giving one of his worst performances of all, completely on the automatic pilot and ridiculous playing the villain; Oldman has good moments when he's not trying to sustain so many different accents into an American role. And why on Earth do the script have to include an strange sex scene with him awkwardly interspersed with him playing squash? Ridiculous!. Hope that the money received by them was worth it because they could've done better than this. If you enjoy both actors I'll highly recommend "JFK" and "Murder in the First" (coincidentally in all of three films their characters never get along). "Criminal Law" I can't and won't suggest.

A good idea and a wasted one. Big time! This is what happens when the hands get faster than the brain and the writer is not thinking of what's he doing. 5/10

As the last review (by a Mr. J. Sommersby) states, there are some dramatic flaws with Martin Campbell's direction of this film, and, hence, the story line. But if it's got ANYTHING, it's got the magnificence of an early Gary Oldman performance, which is worth just about anything to see. Gary Oldman may play a character who is not very well developed, but he plays him with his usual genius. No matter what movie Gary Oldman is in, he improves it completely.

(taaa-daaa)....what the hell is a Mystfest anyway? "Criminal Law", an aging thriller/suspense flick, features a supercharged Oldman plays a hotshot attorney who gets involved with a client who....aw, never mind. This film is so convoluted I felt like I should be taking notes. The problem is, I was too busy yawning. Engaging at first, "CL" wears itself out early on as Campbell steers his crew through a rote production, apparently obsessed propagating his notion of good film to the exclusion of the audience's. A dreary Canadian shoot with a made-for-tv feel, "CL" gives us little with which to empathize and so we quickly disengage and let the movie run wearing itself out to the drooping of audience eye lids.