Fino a prova contraria

Here's one of those movies that's basically been done before but still manages to hold our interest -- and hold it fairly well. Squinty Clinty plays an over-the-hill newspaper reporter who sniffs a bigger scoop when assigned a human interest story about a death row inmate hours away from execution. It seems his fine shackled friend is really innocent, but can our hero prove it in time?

It's hard to pinpoint what elevates TRUE CRIME above its formulaic tendencies. Though not in top form, Eastwood is intriguing despite his character's occasional unlikeability. Isaiah Washington, playing the innocent inmate, is well cast and able to stoically earn our sympathy. Eastwood's newsroom antics would seem tired in many other films, but decent writing and supporting performances help keep things moving at a reasonably smooth pace. And although we know Eastwood will prevail at the end of the day, we're not always quite sure how.

TRUE CRIME is a picture some will appreciate more than others. What's for certain is that there are much worse ways to spend 127 minutes. It's worth a look on a rainy night.

Clint Eastwood has directed himself in an intense drama of a journalist who has been given the assignment of interviewing a death row prisoner (Isaiah Washington) on the day of his execution. The fly in the ointment is that Eastwood's nose for the truth leads him to believe the man is innocent of the crime. Eastwood portrays a very flawed character who is a womanizer, an irresponsible father and a reformed drunk. These chinks in his armor become apparent as he goes about the business of trying to ferret out the facts that he hopes will lead to the prisoner's exoneration. The performances are uniformly excellent. Washington distinguishes himself as a man facing death as he subtly reveals the pain and anguish seething just beneath the surface. Lisa Gay Hamilton (currently burning up the screen in TV's "The Practice") will break your heart as Washington's wife. On the minus side, Eastwood is getting a little long in the tooth to be paired with some of the young actresses he is shown with here. In addition, the climax is a bit cliched and mechanical, but strangely satisfying. The race to the midnight execution is a bit reminiscent of the film-within-a-film in Robert Altman's "The Player". Only in that film it was meant to be slightly tongue-in-cheek. These faults aside, "True Crime" will keep your attention even though you might be correctly predicting what will happen next. The reason for this is the impassioned performances Eastwood has drawn from his wonderful cast.

Clint Eastwood's True Crime shows how even at the ripe old age of 69 (or 70) he can still make a film that has an equal level of skill and practical entertainment value to his older ones. It's nothing great as art, however, and I doubt that it'll be put along the ranks of his great westerns of really chilling cop thrillers. But I remember seeing it twice in the theater (the second time as it was the only movie I could see as being worth seeing among the lot of movies that were out in the theater that time of the year), and thinking well enough of it both times. It's a perfunctory, suspenseful look at a flawed-man though hard-edged journalist (Eastwood) who is trying to find the truth of a death years earlier to save a man's life on deat5h row (Isaiah Washingon is convincing as this man). Denis Leary and James Woods give their all for Eastwood here as co-stars, and there's always a sense of other good character actors in the mix as well (Michael Jeter anyone?). With moments of sorrow mixed with touches of dark comedy, and a finale we all know is coming but keeps us biting the nails all the way, it's not bad at all. If I wouldn't rank it right up there with the best of Eastwood's it might be because of its pat predictability and somewhat lack of interest in the core case in the story. B+

TRUE CRIME is a sophisticated crime thriller that takes time to delve into its lead character--CLINT EASTWOOD--who promptly turns out to be very much like the Eastwood character we've already seen in a dozen or so films--boozy, insolent, direct, and relentless when he's on the trail of a killer or playing detective with everyday citizens.

It isn't until his newspaper partner is killed in a driving accident that his conscience takes over and he decides to pursue the case that intrigued her--a case involving a man she believes is innocently awaiting sentence in California's death row.

He pleads with his newspaper boss (JAMES WOODS) to give him more time to insert himself into the case and track down the real killer. This leads to a black woman who inadvertently gives him a clue he's been searching for and to their desperate attempt to reach the governor in time to stop the execution. Scenes of the state preparing step by step to begin the process are cross-cut with Eastwood's car chase to alert the authorities in time. It makes a smashing, riveting climax.

Basic storyline seems awfully familiar for anyone who has seen a movie from the '40s, CALL NORTHSIDE 777, all about one man's attempt to save a man from the chair whom he believes is totally innocent. And there too, the clue depended on a piece of evidence seen by the naked eye.

Eastwood's acting and direction is above reproach--he's fine and totally in control in both departments. In fact, all the supporting roles are extremely well played. Well worth viewing--and has something to say about race relations too.

Clint Eastwood has directed himself in an intense drama of a journalist who has been given the assignment of interviewing a death row prisoner (Isaiah Washington) on the day of his execution. The fly in the ointment is that Eastwood's nose for the truth leads him to believe the man is innocent of the crime. Eastwood portrays a flawed character who is a womanizer, and irresponsible father and a recently reformed drunk. These chinks in his armor become apparent as he goes about the business of trying to ferret out the facts that he hopes will lead to the prisoner's exoneration.

The performances are uniformly excellent. Washington distinguishes himself as a man facing death as he subtly reveals the pain and anguish seething just beneath the surface. Lisa Gay Hamilton (currently burning up the screen in TV's "The Practice") will break your heart as Washington's wife. On the minus side, Eastwood is getting a little long in the tooth to be paired with some of the young actresses he is shown with here. In addition, the climax is a bit cliched and mechanical, but strangely satisfying. The race to the midnight execution is a bit reminiscent of the film-within-a-film in Robert Altman's "The Player". Only in that film it was meant to be slightly tongue-in-cheek. These faults aside, "True Crime" will keep your attention even though you might correctly be predicting what will happen next. The reason for this is the impassioned performances Eastwood has drawn from his first-rate cast.