The Gingerbread Man

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.

The promising first half-hour is let down by the failure to develop the characters and thus waste a great cast. Downey Jnr is a fantastic actor but is given very little to work with, same goes for Hannah, Berenger and Janssen (who seems to have no purpose in the film whatsoever). Davidtz would've been great if her character had grown, but instead all she got to do was mope around for the whole movie. Majority of the bog-standard material here is given to Branagh, and although he is by no means poor, he just does not get the viewer involved in his battle.

The direction, for me, was the film's only virtue. Altman creates a wonderfully dark and intriguing atmosphere, it's just a shame neither the story nor the undercooked characters are equally dark and intriguing.

With more complex characters, more of Downey Jnr and Jansenn, and more explosive dialogue, I could've easily overlooked and forgiven the silly plot turns and contrivances, but sadly they stick out like a sore thumb.

Disappointing sub-noir thriller. 4/10

It takes real talent to make a real lemon, and Robert Altman, a most talented director, has succeeded brilliantly here. He made things difficult for himself miscasting Kenneth Branagh as a boozy Savannah lawyer but the attempt to replicate the feel of a town in the grip of a hurricane really finishes things off. The last 20 minutes in the rain is truly appalling, with the audience reduced to guessing about what is going on. The lighting is awful throughout, the more so that it was done on purpose. Maybe we were supposed to experience the confusion of the lead character as he stumbled towards an answer but this does not make for entertainment. In this film noir genre to achieve tension at crucial moments the audience must know just a little more than the protagonist, not a lot less.

The story, though completely derivative, is actually quite tight, well plotted, and has a convincing resolution, but the lack of light and general confusion make it difficult to follow. Anyway, an absolute shocker, gross waste of talent and apparently a box office flop (there's some justice). Altman has since put this turkey behind him with the luminous Gosford Park but I am left wondering why on earth he did it.

I expected more of Kenneth Branagh. It is a decent movie, on the low side of watchable. I prefer my suspense movies not to be predictable from the outset, which this was! We saw it for two reasons--Branagh and John Grisham. My final opinion was that Grisham wanted to try his hand at writing a screenplay, and he had the clout to get it produced. I hope his next screenplay will benefit from his first errors, as his subsequent novels have gotten better as his experience as an author grows.

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.