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1. A TIME TO KILL SANDRA BULLOCK FOR FREE
2. A TIME TO KILL SANDRA BULLOCK FULL
3. A TIME TO KILL SANDRA BULLOCK TRIAL

Producers Arnon Milchan, Michael Nathanson, Hunt Lowry, John Grisham. Times guidelines: graphic depiction of the rape of a child, shotgun murders, racial riots.Īn Arnon Milchan production, in association with Regency Enterprises, released by Warner Bros. * MPAA rating: R, for violence and some graphic language. That’s one case even Jake Brigance couldn’t win. Not content with its ability to make audiences jump and shout, the film insists it’s exploring weighty issues like the right or wrong of Carl Lee Hailey’s act. With a scenario predetermined enough to satisfy John Calvin, “A Time to Kill” is most problematical when it thinks it is saying something significant.

A TIME TO KILL SANDRA BULLOCK FOR FREE

Even though it takes Brigance about two minutes to agree to employ her in the novel, the movie, typically looking for every opportunity to pull the audience’s chain, has Brigance play the tease, turning down her offer to work for free again and again for what seems like weeks even though there is not a smidgen of doubt about his decision. Given that Roark is played by viewer-friendly Sandra Bullock, it’s not surprising that this role is considerably beefed up from the book, with Roark given a resume that would impress a Supreme Court justice. Other members include cynical divorce lawyer pal Harry Rex Vonner (Oliver Platt), legal secretary Ethel Twitty (Brenda Fricker) and, the most photogenic member of the group, whip-smart law student Ellen Roark. Not overly daunted, Brigance pulls together an unorthodox “Seven Samurai”-type legal team led by his mentor Lucien Wilbanks (Donald Sutherland), a legal whiz now both drunk and decertified.

A TIME TO KILL SANDRA BULLOCK TRIAL

Both the NAACP and the Ku Klux Klan are eager to use the upcoming trial for their own purposes and, closer to home, his Ole Miss wife Carla (an uncomfortable Ashley Judd), is unnerved by the pressures of the situation. Rufus Buckley (a fine spit-and-polish performance, all cockiness and malevolent self-assurance, from Kevin Spacey), Brigance has numerous other worries as well. Uncertain about the possibilities for a fair trial, even in the New South, and overmatched by aggressive Dist. His focus and intensity make even the most implausible speeches sound reasonable, and the film stops dead for all the right reasons when he’s on the screen. Not only is the act itself wrenchingly presented, with the perpetrators shown as unwashed, tattooed Southern Gothic hellhounds reeking of stereotypical menace, but Tonya’s innocence is emphasized, in a way the book avoided, by showing her delicately choosing eggs one at a time at the local grocery store just before the attack.Īs the distraught, outraged father who decides to take justice into his own hands (after first sounding out Brigance about representing him), Jackson brings an anguish and an integrity to the role that no one else matches.

Jackson as Carl Lee Hailey, the African American lumberyard worker whose young daughter Tonya (Raeven Larrymore Kelly) is brutally raped in an opening scene that in its own way is as much an assault on the audience as it is on the victim. 1 with a bullet, so to speak, is Samuel L.

McConaughey does an impeccable movie-star turn as Jake Brigance, the most ambitious and talented attorney in tiny Canton, Miss., and doubtless has a lucrative career ahead of him, but in the acting department he is the runner-up. If nothing else, Schumacher’s love for unalloyed shamelessness is sincere and that gives “A Time to Kill” a core watchability that many other commercial projects lack.ĭespite what you’ve been reading, it’s not Matthew McConaughey, the hunky young actor with a profile like a Roman coin, who is the key to “A Time to Kill’s” success.

While the director’s relish for pushing every button within reach is excessive, you have to shake your head and admire the jaw-dropping effrontery of the attempt. Still, being anything but bemused at “A Time to Kill’s” antics is as pointless as getting angry at an infant who misbehaves. It’s hard to think of another director who could make Grisham’s pulp fiction look restrained by comparison, but Schumacher manages. Not trusting even the best-selling novel’s instincts, Schumacher and screenwriter Goldsman, determined to squeeze the maximum possible impact out of situations, have made several small but critical changes in the plot, including putting a key closing speech in a different character’s mouth.

A TIME TO KILL SANDRA BULLOCK FULL

With full throttle as his cruising speed of choice, Schumacher directs as if nuance were a capital offense.