Il corpo del reato

Burt Reynolds' charisma keeps this mystery thriller from director Michael Crichton on an almost watchable level, against all odds. The most glaring problem is Theresa Russell's record-breaking non-acting. She has absolutely no rapport with either the camera or the lines she's delivering, and needless to say, the chemistry between her and Reynolds is non-existent. Now, I've seen Miss Russell give brilliant performances in the past (see her opposite Dustin Hoffman in Straight Time, for instance), so her so-called "work" here is nothing short of a mystery. The plot is actually less of a mystery, because the ostensible conundrum surrounding the Reynolds character seems constructed and isn't very well unfolded by Crichton. Reynolds and his old buddy Ned Beatty do what they can with what they have, but they're struggling to stay afloat on a sinking ship. This one is only for die-hard fans.

Michael Crichton directed this flighty, flimsy cop-show starring Burt Reynolds as an officer framed for murder. Crichton, who did not pen the script, seems a curious choice to helm such second-rate material, but he makes something enjoyable out of it--even though one is inclined to scoff at the plotting and outrageous incidents in place of laughing (I did both). Laid-back Burt is positively enervated, yet he actually does the picture a favor by playing it so low-keyed (Crichton's general handling is outré enough). Completely outlandish, though it contains some surprising bits of humor and an odd little nasty streak which is intriguing. It's a guilty pleasure, with Crichton chortling in the background. ** from ****

Physical Evidence (1989)

*** (out of 4)

Joe Paris (Burt Reynolds) is a disgraced detective who is picked up on a murder charge. Clear evidence is in his room that he committed the murder but he was so drunk that he can't remember a thing. Public defender Jenny Hudson (Theresa Russell) fights to get the case thinking she can save the man but before long her life is in danger as there's much more going on than she originally thought.

If you're looking for a hard-hitting courtroom drama then I'd highly recommend INHERIT THE WIND. If you're looking for an "A" quality Reynolds film then I'd recommend DELIVERANCE. If you're looking for any of those things or any sort of art then you're not going to find it here but at the same time as long as you don't take the film too seriously you could get some mild entertainment out of this. There's no question that by this time Reynolds wasn't a "A" list star anymore and this is the perfect example of a "B" movie.

I call this a "B" movie because the material isn't very strong. I mean, everything pretty much falls into place without too much logic and the ending seems more like something from Scooby-Doo more than anything else. The entire murder rap has countless bad guys brought into it and any of them could have been guilty so this too works against any sort of logic. I'd even argue that by the film presenting Reynolds as being innocent, it takes away possible drama because it would have played out better if the viewer didn't know if he was guilty or not.

With that said, I still found myself enjoying PHYSICAL EVIDENCE thanks in large part to the cast. I wouldn't say Reynolds gives a great performance here but he's at least entertaining and this fits well with the "aftermath" of some of the rough cops he played earlier in his career. He's certainly believable in the role and I thought it was a good fit for him. Russell is good in her role as the woman trying to get him off, although the screenplay doesn't do much with her character and the forced attempted love story is trash. Ned Beatty is always good and he adds some nice entertainment value as does Kay Lenz, Kenneth Welsh and Tom O'Brien. Married With Children... fans will enjoy seeing Ted McGinley here, although his character is yet another weak one.

As you can tell, there's a lot of negative things about this picture but it still kept me entertained throughout. I think it's best that you turn your brain off and just watch this on a boring day whenever you just want some light entertainment. This certainly isn't a masterpiece or a very good picture but if you're a fan of Reynolds then you should enjoy it.

Former cop Joe Paris (Burt Reynolds) was suspended for pushing his partner through a window after he shot an unarmed suspect. When criminal Jake Farley is founded murdered, Joe is arrested after finding evidence at his apartment. He's bloody, hungover, and can't remember the night before. Jennifer Hudson (Theresa Russell) is his eager new public defender who spent five years in the Peace Corps. James Nicks (Ned Beatty) is the prosecutor. Deborah Quinn (Kay Lenz) claims to be with Joe that night. She had contracted Farley to kill her powerful husband but changed her mind. He refused to pay her back but Joe somehow got the money for her. Jenny wants her to be Joe's alibi but Joe objects.

Michael Crichton as an IP generator is beyond reproach but as a director, he is average at best. This does not raise his average. The narrative flow is lacking. Burt Reynolds is cold which is good for his possible guilt. His innocence is not really in doubt but twists are expected in this type of movies. Russell overacts in a couple of scenes. The pairing is not that appealing. None of the characters are rooting interest material. This is a forgettable thriller.

RETRO REWIND: Physical Evidence (1989)

"A slow-burn thriller soaked in shadows, smirks, and suspicion."

Physical Evidence flips that image on its head. Here, Reynolds trades in the smirk for a scowl and gives us a performance that's weary, wounded, and wonderfully understated.

Directed by Michael Crichton (before his Jurassic days), the film plunges us into a moody, Boston-set crime story where justice is murky, and truth hides in the shadows. Reynolds plays Joe Paris, a disgraced ex-cop accused of murder, worn down by the world and dangerously close to giving up. Enter Theresa Russell as Jenny Hudson, a sharp, no-nonsense public defender who's as skeptical as she is savvy. What unfolds is a taut, character-driven mystery that refuses to play by Hollywood's louder rules.

Russells acting is wooden to start and can be jarring but seems she seems to get into the flow mid-way.

There's no flashy courtroom grandstanding here-just quiet tension, doubt. The relationship between Paris and Hudson is refreshingly raw: professional, combative, and grounded in real stakes. No shoehorned romance. Just two people fighting a system that doesn't care whether they like each other or not.

Visually, Physical Evidence is drenched in noir stylings. Rain lashes against dim streetlights. Office windows blur with cigarette smoke. Everything feels like it's two shades darker than it should be-which is exactly right. Boston becomes a character in its own right: cold, corrupt, and cagey.

So Why Dig It Up Now?

Because this is the kind of thriller they just don't make anymore. It's a film built on mood, performance, and slow-drip suspense. Reynolds shows us what he's capable of when he sheds the polish and leans into the grit. Russell matches him beat for beat, and Crichton reminds us that before he unleashed dinosaurs, he knew how to build real-world tension just fine.

A forgotten legal noir that trades flash for substance and gives us a Reynolds we didn't know we needed. Moody, mature, and surprisingly memorable.