Um Crime de Mestre

I was quite surprised at how much I enjoyed watching this film as I heard many positive critical reviews before going into it so I had high expectations to begin with. However I was not let down one bit since "Fracture" more than held its own. It contained a very simple plot structure but also offered a very original take on a different type of court case. While it might not be possible in real life, it worked magic on the big screen and transformed into an excellent film almost within the first few minutes.

Even though Sir Anthony Hopkins played a role almost exactly identical to that of his previous Hannibal Lecter, it was still great to see him back in this form because that's what I always thought he was best at: the maniacal genius. Although I will admit he does have an incredible range. He didn't add anything new to his character that we haven't seen him do before, yet I still loved watching him whenever he was on the screen. The big shock for me was Ryan Gosling. I knew he was a good actor and that he has been in some great movies but this was his best performance by far. He just calmly waltzed into each scene and was able to hold his own against the veteran Hopkins. Gosling's natural ability is simply breathtaking with how much of it he was blessed with. Any doubts of him I had before are now officially thrown out the window. The rest of the ensemble was at least adequate and the only one who I was a little disappointed in was Billy Burke since he didn't seem completely convincing.

There is somewhat of a twist waiting for the viewer at the final showdown and what I loved about it was it wasn't thrown in there for no reason. It actually went with the story, which is what's supposed to happen but hasn't lately in numerous other cases. It won't throw you for a complete loop but rather ties up some loose ends that had me scratching my head up until then. While there's elements of the legal proceedings that are completely Hollywoodized and could in no way happen in real life, I didn't seem to mind at all and was actually glad they did that. This was most likely because it flowed with the story and offered a fresh perspective.

"Fracture" will be one of those small cinematic feats that goes overlooked and prematurely fades into oblivion but for those that do get to see it you won't be disappointed. You may not agree with some parts and might even spot some dead on plot flaws, but if you can overlook that and instead focus on the film as a whole you are in for a treat. The courtroom drama is suspenseful and is presented just as it should be. The quips taken from both sides are clever and offer some well-timed comic relief. The love story while not necessarily essential didn't take anything away from the other parts either. Job well done to mostly everyone on this production, this was a tightly wrought law thriller that was no chip off the old block by any means!

The film gets to deliver high points of drama and confrontation and is overall fairly watchable; there are some cliché the director could do without but the good storyline gets them to fit together. Twists and turns guarantee enough suspense in this piece of jigsaw solving, plus there are some elements of a legal thriller, that make the plot a little bit more complex. Anthony Hopkins and Ryan Gosling are really excellent but the whole cast seems to work properly, both in terms of involvement and rhythm. It's a cut above average thrillers and above stories based upon novels or famous trials, thank to the cast and the screenplay.

Blessed with a smart script, stylish direction and first-rate performances by Anthony Hopkins and Ryan Gosling, "Fracture" emerges as more than just the "Silence of the Lambs" knock-off it would appear to be on the surface.

In a role reminiscent of a somewhat toned-down (i.e. non-cannabilistic) Hannibal Lecter, Hopkins plays Ted Crawford, a wealthy L.A. businessman who shoots his wife when he discovers she's having an affair with a hostage negotiator. Crawford readily admits to the crime, giving the police a signed confession and insisting on defending himself in court. Gosling is Willy Beachum, a cocky, up-and-coming public prosecutor who takes the case believing it will be one last slam-dunk victory for him before he moves on to bigger and better things at a prestigious private law firm downtown. Beachum gets more than he bargained for, however, when the creepy and unnerving Crawford begins to play the legal system for all it's worth, tweaking the hotshot lawyer by outthinking him and continually knocking him off his game.

In less capable hands, "Fracture" could easily have been a standard-issue, twist-and-turn courtroom drama, but thanks to the talents involved, it transcends the limitations of its genre. Daniel Pyne and Glenn Gers have written a screenplay filled with witty, crackling dialogue and sharply observed insights into the psyches of its two principal characters. Hopkins and Gosling play the cat-and-mouse game with conviction and gusto, while director Gregory Hoblit and cinematographer Kramer Morgenthau use a smoothly gliding camera and a barely perceptible visual distortion at the edges of the picture to highlight the "fractured" nature of the piece. Moreover, the film has a nice L.A. feel to it, as it takes us to various interesting sites around town, including the ultra-modern, near-surrealistic Disney Concert Hall located in the heart of the city.

There is strong supporting work by David Straitharn ("Good Night, and Good Luck"), Billy Burke, Rosamund Pike and Fiona Shaw ("Mountains of the Moon"), among others, but it is Hopkins and Gosling, locked in a life-or-death battle of acumen and wits, who make "Fracture" a perpetually compelling and watchable courtroom thriller.

The tagline of this film sounds interesting, but also shows the movie's thin plot. 'I shot my wife. Prove it.' Ultimately, the film is smart and witty and keeps you intrigued the entire time as you try find a way to do what the tagline asks you to. However, that's it. Naturally, Anthony Hopkins can do now wrong and 'newbie' Ryan Gosling does really well. Together in a scene, these two are awesome.

What I like about this film is that it totally focuses on the Hopkins/Gosling story-line. In many other films like these there's always that the policemen/attorneys (in this case Gosling) fall in love and then mess it up/ruin their marriage because the case is tearing them apart, you know the drill. There's always some sub story-line involving romance. Gosling finds romance in this movie with Rosamund Pike's character, but it doesn't evolve into another story-line. It doesn't take Willy Beachum's (Ryan Gosling) eyes off the price and even when it falls apart, he doesn't appear to care much (it's all about getting Crawford behind bars) or to feel a need to make it right. I like that. I mean, I love romance in films, but this movie shouldn't be about that and it's not.

Also, the fact that Ted Crawford (Hopkins) is in complete control over everything and everyone in this film astonishes me. This man plays roles like these so well! He just keeps you glued to the screen. The way he is in charge of Willy for (almost!) the entire film is just enjoyable to watch, making the end of the film even more enjoyable when the story comes out and the roles change.

Another reason to praise Gosling for the way he portrayed Willy Beachum. Anthony Hopkins is a legend. He is what draws people to theatres and he is one of the most brilliant actors of all times. Plus, he portrays such a strong character here that I can't help but praise Gosling for holding his own in a very strong manner. Scenes with Gosling are entertaining to watch. You feel drawn to him in almost the same way you feel drawn to Hopkins, even though Willy is in a dark place for most of the film and is hardly in control. Gosling's got great timing.

The story-line might be a little thin and fragile, the outcome is worth it. The movie surprises in more than one way, not in the last place because of the pretty much brilliant performances of both actors. Gosling is going to be big.

8/10

Very elaborate and detailed production design contributes a sense of authenticity to this story, set in Los Angeles, about a highly intelligent and wealthy older man named Ted Crawford (Anthony Hopkins) who kills his unfaithful wife. He then dares the criminal justice system, in the person of assistant district attorney Willy Beachum (Ryan Gosling), to convict him. That Crawford likes playing games with the system quickly becomes apparent, and is the force that propels the plot forward.

The story has some believability issues. I question how Crawford can know all that he knows, with such certainty. There are also some problems toward the film's end that involve hospital protocol. And the overall plot progression depends on various contrivances that include, but are not limited to, police procedures. The entire concept borders on implausibility. But, if you don't pay too much attention to these annoying little details, the plot does roll merrily along with some good drama and suspense.

Anthony Hopkins is well cast as Crawford, and gives a predictably adroit performance. I would not have cast Ryan Gosling, with his boyish looks, as an assistant DA. Nevertheless, Gosling's performance is both lively and credible. And it's the back and forth verbal sparring between these two that make "Fracture" so entertaining.

The film's color cinematography is very good, and includes some unusual camera angles. I also liked the use of a wide-angle lens in the courtroom scenes. And sound effects, so often ignored in many films, further add to the realism of the settings.

Dialogue is generally effective, and includes some witty lines. When Willy's boss talks with him about being taken off the case, Willy responds: "Even if I find new evidence?" To which his boss retorts: "From where, the evidence store?"

Despite a seriously flawed script, "Fracture" is a highly absorbing movie, thanks largely to meticulous production values, and to shrewd performances from Anthony Hopkins and Ryan Gosling.