confessed the strange cause of the murder, and by the way, deliberately inadvertently planted the foreshadowing of the cracks in the entire case in the future. Most of the remaining space is to see how the old and the young fight in the plot and performance.
In the first three-quarters of the story, Willy, the young lawyer played by Ryan, was forced to scratch his head and retreat until the dead end from the original career and love of the spring breeze. However, the movie did its best to avoid "hot blood Fang Gang is too idealistic, so Believe in the truth so diligently can make up for the role of a lawyer, Willy began to be repaired by surprise, the main reason is that he half-hearted and did not pay enough attention to the case. He is a realist with career ambitions, great wisdom and cleverness. As his opponent Crawford (Hopkins)'s tricky old character gradually emerges, Willy is most suitable for lawyers to insist on justice and insist on justice. The means to win justice and the quality of fairness are displayed in front of the audience bit by bit. This kind of expression method of gradually digging into the character's character as the plot is laid out has a more realistic style, and it is easier for people to have a sense of closeness to the character.
Rosamund Pike played Ryan's boss and girlfriend, a more practical lawyer. This role not only adds some femininity to the film in the atmosphere of fighting wits and courage, but also to set off the commendable part of Will's character that insists on justice and adheres to principles.
I won't talk about Hopkins, but Ginger really has nothing to say. . .
Regarding the story itself, the lack of plot is mostly covered up by the actors' superb acting skills. For example, the "fracture" that led to the sudden turn of the whole case is really too deliberate and weak. There is only one point that can affect or even change the whole case. Moreover, a bunch of people can't find it out. "Hidden under the nose" effect. . . I'm ashamed that I haven't watched this type of film for too long, and my mind is also amused, and I have to wait until the plot of changing the wrong phone to realize where the turning point of this "fracture" has been hidden by the director. . . To save yourself some face, it is better to praise the director for hiding well ==|||. . .
I'm still very pleased with Gosiling's selection of film vision. By the way, I am pleased that he has a sibling relationship with my favorite beauty Pike.
An excerpt from a poem that Willy read to the victim in the film. I personally like it:
Do you dare stay out?
Do you dare go in?
How much can you lose?
How much can you win?
And if you go in, should you turn left or right?
Or right and three-quarters? Or maybe not quite?
You can get so confused...
that you'll start in to a race...
down long wiggled roads at a break-necking pace...
and grind on for miles across weirdish wild space...
headed I fear towards a most useless place...
the waiting place.
For people just waiting.
Waiting for a train to go...
or for a bus to come...
or a plane to go...
or the mail to come...
or the rain to go...
or the phone to ring or the snow to snow...
or waiting around for a yes or no...
or a string of pearls or a pair of pants...
or a wig with curls...
or another chance.
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