El engaño

While it's true, as others have noted, that this movie succeeds on style (acting, direction and cinematography are all first-rate) a thriller must have a compelling plot, and that is something that Grisham's paint-by-numbers approach consistently fails to deliver. There is a bit of a zig and a zag at the end, but it remains utterly conventional and unsurprising, and while it's watchable one can't help but feel cheated. All that talent and atmosphere, and whiffs of tantalizing plot developments that never amount to much, make this movie one long tease.

You got it, even though this movie is from director Robert Altman, he has managed to produce a very average thriller here, which is raised a few bars up by the cast, which takes the movie with ease. Robert Duvall is underused (he only has three or four lines of dialogue), and Robert Downey Jr. performs his usual "wisecracker" role. The treat here is seeing Kenneth Branagh on one of his non-Shakespeare incursions and stepping into the skin of a workaholic, stressed-out, mundane lawyer which bumps into a woman that will change his way of life. Altogether it is rather watchable, but doesn't bring anything new to the genre, and one thinks if the names involved aren't just a way to promote such a standard script. Anyway, it has some fun in it, despite the clichés.

The plot of this film was only bad in the last section of the film. Before that it builds up to something good that never comes. I had to learn a Southern accent for a play (being from Kentucky and not having a Southern accent of course) so I rented this movie and learned one. Kudos to Kenneth Branagh and Robert Downey Jr. Watching this film it seemed like there was about 45 minutes worth of plot missing that would have made this a good movie. IF you have the missing 45 minutes please send it to me.

Robert Altman shouldn't make a movie like this, but the fact that he did- and that it turns out to be a reasonably good and tightly-wound thriller in that paperback-tradition of Grisham thrillers- shows a versatility that is commendable. In the Gingerbread Man he actually has to work with something that, unfortunately, he isn't always very successful at, or at least it's not the first thing on his checklist as director: plot. There's one of those big, juicy almost pot-boiler plots where a sleazy lawyer gets caught up with a desperate low-class woman and then a nefarious figure whom the woman is related with enters their lives in the most staggering ways, twists and plot ensues, yada yada. And it's surprising that Altman would really want to take on one of these "I saw that coming from back there!" endings, or just a such a semi-conventional thriller.

But it's a surprise that pays off because, oddly enough, Altman is able to catch some of that very fine behavior, or rather is able to unintentionally coax it out of a very well-cast ensemble, of a small-town Georgian environment. The film drips with atmosphere (if not total superlative craftsmanship, sometimes it's good and sometimes just decent for Altman), as Savannah is possibly going to be hit by a big hurricane and the swamp and marshes and rain keep things soaked and muggy and humid. So the atmosphere is really potent, but so are performances from (sometimes) hysterical Kenneth Branaugh, Embeth Davitz as the 'woman' who lawyer Branaugh gets caught up with, and Robert Downey Jr (when is he *not* good?) as the private detective in Branaugh's employ. Did I neglect Robert Duvall, who in just five minutes of screen time makes such an indelible impression to hang the bad-vibes of the picture on?

As said, some of the plot is a little weak, or just kind of standard (lawyer is divorced, bitter custody battle looms, innocent and goofy kids), but at the same time I think Altman saw something captivating in the material, something darker than some of the other Grisham works that has this standing out somehow. If it's not entirely masterful, it still works on its limited terms as a what-will-happen-next mystery-Southern-noir.

The Gingerbread Man has all the ingredients of a fine movie. A respected director, a script by a best-selling author, and a well-rounded cast, all of whom succeed in stretching their abilities. The question of why the movie crumbles, seeming more like a mediocre television show than a movie, lies with Grisham's set of unlovable characters and a director who, disrespectful of his audience's intelligence, gives away the entire pending two-hour plot within the first ten minutes of the movie by his choice of camera shots.

The cast, each out of the respective genres that made them famous, deliver unexpectedly fine performances. Yet their characters suffer from existing as Hollywood stereotypes of Southerners whose greed, stupidity, and amorality are not grounded in the audience's reality. The movie does manage to attain a high level of suspense, yet it is difficult to muster any compassion for a sleazy dolt of an attorney, his obviously manipulative one-night stand, and a uni-dimensional supporting cast. After viewing The Gingerbread Man you'll want two hours of your life back.