Una vita in pericolo

The plot is not very intriguing. Another viewer mentioned The Firm. That plot was better. But the actors did a solid job. Peter Berg was very confident and Jennifer Grey was totally natural. I believed them.

I also liked the slow build toward a climax, with just the right amount of tension coupled with sympathy. But the conclusion was too obvious.

Nevertheless, I was never bored, and this was at least my second time viewing my VHS. I also liked the appearance of a large cell phone from 1992.

Berg has an "everyman" quality about him and usually plays that to the hilt. Even in a lawyer's suit, you hear that he comes from less than nothing and you bond with his underdog status.

Chicago looked good. The other actors seemed awkward. But they weren't given much to work with. The two leads fill the overwhelming majority of screen time.

I recommend it. Don't expect an epic. Just sit back and enjoy.

I watched this movie many, many years ago and liked it a lot, to the point that I searched for it, to watch it again. I must have changed, because it is now a boring movie. A shame, since I think Peter Berg is a very good actor. I even wonder why he is not famous. This movie is way too slow. The first court scene takes one hour to arrive, and the case is not even very interesting. Watch it because of Peter Berg.

Have you ever heard promising comments about a movie, watched the whole thing, and just kept hoping that it would get better. Then when it ends you are sitting there trying to figure out why you wasted your time? Well this movie is the perfect example of that scenario.

An interesting scenario, solid direction and capable acting combine in lifting this suspense film above the pack. Although the storyline abounds with melodramatic episodes leading to the solution of two murders, the editing provides a model of how to move a work towards its climax without becoming prey to incongruity. It is fair to say that this is one of the few attempts in cinema to utilize dialogue in a creative, i.e.aesthetic, fashion by having all of the major characters speak in a realistic syntax, utilizing restatement and repetition, as is customary with most of us. Intensity is heightened as well as interest developed for the players. Despite the film having obviously cost less than a pretty penny, director Duncan Gibbins derives fine performances for the actors by permitting them adequate camera time for displaying emotion. Peter Berg, Jennifer Grey and Belinda Bauer all prove their worth in their roles. With all of the filming in and about Chicago, production design and art direction were both appropriate. There is a nicely flexible score by composer Randy Miller. A CASE FOR MURDER is not a whodunit; it is grounded with solid filmmaking, requiring some attention by the viewer to determine the forces that move the principals.