Synopsis: Big city lawyer Hank Palmer returns to his childhood home where his father, the town’s judge, is suspected of murder. Hank sets out to discover the truth and, along the way, reconnects with his estranged family.
Stars: Robert Downey Jr., Robert Duvall, Vera Farmiga, Vincent D’Onofrio, Jeremy Strong, Dax Shephard, Billy Bob Thornton, Ken Howard, Emma Tremblay, Balthazar Getty, David Krumholtz, Sarah Lancaster, Grace Zabriskie, Denis O’Hare
Director: David Dobkin
Running Length: 141 minutes
Trailer Review: Here
TMMM Score: (2/10)
Review: I can imagine the script for The Judge came together by accident. Perhaps a pair of screenwriters were both walking around a local coffee shop with two scripts, one was about a big city lawyer defending his estranged father on a murder charge and the other was about a hot-shot attorney who retreats home after discovering his wife was cheating on him. Maybe the two writers stumbled into one another, sending their loose-leafed scripts up in the air in a flurry of white paper and when they picked themselves up they couldn’t discern what pages belonged to which script so they decided to just combine them and sell the unified work as The Judge.
I mean, that’s one theory right? And it’s a lot more acceptable than knowing full well and good that The Judge was no accident, made with purpose. No amount of revisionist history can save this film from being one of the worst motion pictures in my recent memory, squandering the talents of its able-bodied cast for 141 of the most ghastly minutes you’ll spend in a theater this year.
Reminding me a lot of the equally awkward This Is Where I Leave You, The Judge miraculously ups the unpleasantness factor by offering not one moment that feels genuine; at least This Is Where I Leave You had a few redeeming qualities about it …and was forty minutes shorter.
Seeing early trailers, I thought The Judge held some promise considering the pairing of two Roberts in a courtroom drama. Robert Downey Jr. (Iron Man, Iron Man 2, Iron Man 3) seemed like the perfect actor to be matched with Oscar winner Robert Duvall (Tender Mercies, The Paper) and sparks were expected to fly. I’m not sure any combination of actors could have risen above the tone-deaf script that veers schizophrenically from comedy to drama, never succeeding in either arena.
Returning to his all-American hometown after his mother’s unexpected death, legal eagle Hank (Downey Jr., looking disturbingly skeletal…where’s the full faced lad from Less than Zero?) clashes with his father (Duvall), a respected town judge. As he reconnects with his brothers (Vincent D’Onofrio and Jeremy Strong) and an old flame (Vera Farmiga, The Conjuring, totally wasted though she’s miscast in the first place), he’s drawn deeper into the unresolved past with his dad after the judge is arrested on suspicion of murder and put on trail by a vengeful prosecutor (Billy Bob Thornton, wearing a Colonel Sanders wig and flashing his receding gum line every chance he gets).
Now I’m not going to deny that there’s a good idea somewhere in the plot and perhaps if director David Dobkin wasn’t so interested in wringing the ever loving emotional life out of every single scene then The Judge may have fared better overall, serving as a minor distraction for Downey Jr. between his Marvel superhero commitments.
Nearing the end of this folly, I turned to my companion and exclaimed “There are so many emotions in this movie!” and it’s the God’s honest truth. No emotional well is left undrained by Dobkin and co. as they move us through self-serving scene after self-serving scene. I began to wonder if the entire movie wasn’t some elaborate prank where every acting clip shown on the Oscars wasn’t recreated in one film. There are courtroom confessions, tender moments bizarrely played out in front of masses of people, tough good-byes, difficult hellos, old wounds reopened, and healing apologies delivered as one single tear rolls down a cheek. It’s all simply too much.
It’s an ugly film too. When the backdrops aren’t horribly digitally inserted the film takes place in houses, bars, and courtrooms that have “natural” light coming through the windows by way of 1000 watt search lights, suggesting cinematographer Janusz Kaminski (Lincoln) has shot the movie like a Christopher Nolan directed episode of Judge Judy.
Culminating in a borderline offensive finale that wears its manipulation as a badge of honor, I can’t recommend enough steering clear of this mish-mash of a missed opportunity.