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True Crime Review
By admin | August 18, 2009
True Crime movie trailer
True Crime Review
COMMENTS
I’m a long time fan of the tall, squinty-eyed icon, Clint Eastwood. After many years of taking in nearly every one of his flics as they hit theaters, I’ve come to the conclusion that it’s impossible for the man to make a bad film. Though his earlier pics were westerns and ‘urban’ westerns, more recently, his features have more toned-down characters - consider THE BRIDGES OF MADISON COUNTY, MIDNIGHT IN THE GARDEN OF GOOD AND EVIL, ABSOLUTE POWER and his most recent drama, TRUE CRIME.
Eastwood’s most recent on- screen persona has been that of the old professional - one seeking a last chance at redemption and happiness. This is certainly true of Steve Everett, his character in TRUE CRIME - a discredited newspaper man, suddenly dumped into a capital punishment story in the eleventh hour. After a mere glance at a file, he’s nearly convinced that the condemned man is innocent.One would think this plot has been drilled and excavated so many times over the years, there’s no chance of yielding anything new and interesting. But don’t rule out all possibilities until Eastwood has gone down the mine shaft with pick in hand.
It’s a simple matter to predict how TRUE CRIME will end, but as is the case with so many good films, it’s not necessarily the destination that’s important - but the ride that takes you there. With a seasoned pro like Eastwood behind, and in front of the camera, you can be certain the journey will, at the very least, be engaging and entertaining.Reporter Steve Everett’s desperate attempt to clear Frank Beachum (Isaiah Washington) before the midnight hour is only part of the story. TRUE CRIME also contrasts the relationships these two men have with their wives and children. Everett is an unfaithful, self-absorbed, irresponsible husband and father. He’s a recovering alcoholic, kicked out of New York after sleeping with the underage daughter of his newspaper’s owner.
Now, writing in Oakland, he’s on the wagon, but sleeping with his editor’s wife. His own wife waits at home with his little girl, wondering if he’ll keep his promise and take the girl to the zoo. Everett’s solution is to do ”speed zoo” - that is, place the girl in a stroller and run at breakneck speed through the park while calling out the names of the animals whizzing by. After risking everything to clear the name of a rapist, who was ultimately found guilty beyond question, Everett is desperate to prove that his reporter’s nose can still sniff out the truth. He sees the Frank Beachum story as his chance - no matter the cost.Eastwood gives a terrific performance. We somehow manage to care about, and root for his character, despite the fact that he’s a womanizer and such a poor father and husband.
Some will wince at an opening scene which has Everett in a bar putting the moves on a twenty-something year old colleague. Everett looks silly, but that’s the whole point. Everything about the way he handles his personal life is objectionable - he’s a bit of teenager in a grown man’s body. Though he believes he can turn things around by pulling one last rabbit out of his hat and proving Beachum’s innocence, we know things aren’t that simple.In contrast, Beachum - living his last day, spends time with his wife and daughter. These are the most powerful scenes in the film. Washington is a very gifted actor. It’s a shame we don’t see more of him in this film, and in other projects. There are a number of heartbreaking moments. A brief visit by an overzealous, cruel priest is stirring, but the last good-bye’s between father and child and husband and wife are wrenching. Washington plays Beachum as a strong, sensitive, father and husband who’s resigned himself to the fact that he’ll not wake to see another day. He accepts his fate, but what it’ll do to his wife and daughter is tearing him apart. Only twice does he let his feelings escape - once as his daughter is taken from him, and again when his wife is pulled through the door. Both moments are shattering, and Washington plays them marvelously.
As sad as these scenes are, Eastwood doesn’t seem to be taking a strong stand against capital punishment with his film. Everett is driven because an innocent man is to be executed. Apparently, he doesn’t have objections to the death penalty itself. In addition to the powerful drama centering around the race to save a man’s life, there are numerous memorable scenes with Eastwood and his co-stars. Perhaps the best being those shared with the fiery James Woods, who plays Everett’s hard-nosed, but fair chief at the paper. Woods steals these scenes - hands down. TRUE CRIME may use an old, dusty, formula script, but exceptional performances, and Eastwood’s usual dedication to character development characters, makes this a highly entertaining, engaging piece of work.
SYNOPSIS
After a young beat reporter is killed in a car accident, Steve Everett (Clint Eastwood) gets the nod to complete a story she’d been working on. The gal was to interview convicted murderer, Frank Beachum (Isaiah Washington) just hours before his execution. After only a cursory glimpse of the late reporter’s file, Everett’s convinced of Beachum’s innocence. Against the urging of his editor, Bob Findley (Denis Leary) and his chief, Alan Mann (James Woods), the seasoned reporter pulls a ”Dick Tracy” and begins digging into the years-old case. He has until midnight to prove Beachum’s innocence.
Findley keeps the heat on Everett to cool his heels and simply handle the story as a human interest piece, but he’s ignored. There’s much tension between the two since Findley has discovered that the reporter is sleeping with his wife. Everett’s own wife is fed up with Everett’s lack of commitment to their marriage and their daughter. Everett’s judgment is in question since he played a bad hunch and tried to prove a rapist’s innocence. He feels things will turn around for him if he can save Beachum.Beachum has always claimed that he didn’t commit the murder he was convicted for. In his last hours, his wife and young daughter visit to say their good-byes. While the family is together, Everett arrives for his interview. After looking into Beachum’s eyes, he becomes still more convinced that the man is innocent. The race is on. But, with just hours before the lethal drugs are to be injected, Everett has no leads to follow.
IMAGE
This is an outstanding transfer from the folks at Warner Bros. As was the case with Eastwood’s ABSOLUTE POWER, this is a fairly dark film, with but a handful of brighter, sunlit exteriors. Whether dimly-lit or out in the California sun, the images remain very sharp and detailed. Edges are clean with no ‘ringing’ from digital enhancement, and no halo-ing or color bleeding between fields. Only during two or three exteriors did we note a somewhat softened image.
Most scenes in the film display rather subdued colors, but on occasion - for example in a bar during the opening scene, brighter colors do catch one’s attention. Hues are nicely rendered and saturated. Blacks are deep and solid. Flesh tones look natural throughout the presentation. Shadow detail is excellent and contrast and brightness levels are very good. We noted no ‘grain’ or image breakup of any kind during the feature. The print used by Warner Bros. to strike their master was pristine. We saw no nics, scars, or scratches on the picture. This is a top notch transfer. Very high marks.
SOUND
This is a very good Dolby Digital, 5.1 mix. The forward soundstage is deep and wide, and on occasion it reaches around to meet the split surrounds. Panning effects and sound effects placement are smooth and accurate.
The split surrounds contribute primarily by serving up more subtle ambient effects and by providing support for the typically reserved Lennie Niehaus score. However, there are a few occasions when more dynamic sound is required - for example, during the film’s finale, which as you would expect, involves racing automobiles. There are convincing panning effects in the rear channels and good effects placement as well.Dialogue is very well recorded and nicely integrated across the forward stage. Voices sound full and natural - never distorted or compressed.
There’s very little use for the .1 FX channel during the course of the film. Nearly all bass to be heard is served up adequately by the front mains. Lennie Niehaus’ score is very well recorded - rising up primarily from the forward stage, but having some support from the surrounds. This is a subtle piece of work that serves to nicely compliment the action on screen without ever overpowering it. This is a solid Dolby Digital track from the folks at Warner Bros.