#cast: chris messina

[hannibals-cheekbones]

I.S.S. (2023), Dir. Gabriela Cowperthwaite

[keetika]

   —   ⁺  𝐂𝐇𝐑𝐈𝐒 𝐌𝐄𝐒𝐒𝐈𝐍𝐀  ,  1974  [ #1556 GIFS ]  BASED ON A TRUE STORY S1  /  chris messina is white, please cast accordingly and use appropriately. all of the gifs have been created from scratch by me. to access the gifs please click the source link. do not edit, claim as your own or add into your own hunts! time and effort were spent into making these gifs, a like or a reblog would be much appreciated!

[ ! ] commission work: to view commission info, click here

[ ! ] content warning: alcohol, kissing, eating

[onepiece-polls]

OPLA fan cast polls - Donquixote Doflamingo prelims B

The top 2 will advance.

Propaganda under the cut.

Cameron Monaghan: Who better to play Joker than Joker?

Chris Messina: [Submitted without propaganda]

Ryan Gosling:

i don’t know it just fits so well, also my brother fucking loves this idea

HE HAS THE RANGE

Riz Ahmed: [Submitted without propaganda]

[shakespearean]

Academy Award winner Ariana DeBose (West Side Story), Emmy winners Rachel Brosnahan (The Marvelous Mrs. Maisel) and Peter Dinklage (Game of Thrones), Oscar nominee LaKeith Stanfield (Judas and the Black Messiah), Chris Messina (Argo), Ted Levine (The Silence of the Lambs), Danny Huston (The Constant Gardener), Matthew Jacobs (Bar America), Rhys Coiro (Entourage) and Stephen Dorff (Blade) have joined Academy Award winners Al Pacino and Jessica Chastain in Bernard Rose’s Lear Rex, a film adaptation of Shakespeare’s King Lear.

[siremasterlawrence]

The Handler’s Red Carpet Express Part 7 & 8

Casting for a new buddy cop Apple Plus TV show called Ghost Spy’s sitting in the major casting room at television studio want I am expecting is so much better Chris Pine and Chris Messina in the waiting the room.I flip on the camera setting up the room all is perfectly set up as I call Chris into the room for the time being as he enters my cock is coming to life springing forward under the desk.

Quite a unique looking face he has I must admit to myself but still fucking handsome and he is about to me be mine I state all to myself very hyper excited at his newest role in cinema.The lights flicker on lowly as he sits down the door slamming closed he slates for the camera then we begin to read lines as the circular light system around the camera turns on burning brightly it edges deep into his mind.

Everything comes to a slow stuttering crawl as he stumbles over his words his eyes grow heavy, his mind is in a deep sea of hazy fog and I watch him falling ever deeper into my power.He has no idea what is happening nor cane he even attempt to resist if he wanted to simply because I will him to be at my mercy for life and he is fully committed to serve me for life.

Pine has no more ideas left in the pretty boi face of his except to stare mindlessly with a stupefied look on his the spit trickling down his chin soon he is all that ever existed in his mind.I am the center of his life now as he builds so many monuments of me in his head one at a time he falls for me a expression of love over comes him and he soon is everything I ever want.

Getting up I push my chair back to rise to my feet as I stood up staring him down in a hot, heavy and lustful display of pleasure launched me over the table on to his lap and we make out. His hands rove throughout my body touching every part of his body in a scandalous wave of energy overcomes us both in a shill of power his lips touch my skin all hot and bothered.

“Mr. Messina please come in.” I say exiting the room as he smirks walking in.

“Please sit.” I instruct not even looking at him.

“Please focus on the camera.” I state

“May I start?”

“Yes commence”

“Oh wait! Must the lights be so strong”

“I can’t think”

“I am confused “

“Why am I here?”

“Hahaha”

“What’s so funny?”

“You are hilarious “

“Wait what?”

“Continue to take a gander “

“You will admit it”

“You own me”

“Mmmm”

“You love the sound of my voice “

“You are rock hard”

“Mmmmnnnn”

“Fuck…you own me”

Grant Gustin is up for a second pilot go a up and coming new show I have commissioned for Amazon where he would play a hot shot attorney having a torrid affair with a young male assistant attorney. The studio is awash in a bright gold lights of the entire room showcasing everything as he walks in with such power, confident and presence to control the situation he is so instantly struck.

The moment he saw it his world spun intoa fit of crazy babble in a world wind of air to his lungs he takes a deep breath inhalinga sweet intoxicating taste like he has never smelt before. His body is hot falling backwards onto his back his mind melts away at everything he has ever felt loosing himself in a pure unsafe feeling of love and desire for me and only me.

“Grant please slate”

“I am Grant Gustin”

“Good boi”

“Please read this “

“I am here to submit and obey “

“I submit “

“I succumb to your will”

“I am at your mercy “

“Do as you wish and please “

“Ravish me in your will”

“That’s it truly feel it”

“You are intoxicated with love”

“I am obsessed “

“Intoxicated “

“Oh God! You make rock hard”

“How do you feel about me?l

“I love you “

“Absolutely correct “

“What do you expect Charlie Hunnam? Come in now.” I say swinging the door open in excitement because I know he is loves it madly in love with me soon enough he will follow me like Grant. “Please slate for me Charlie.” I command him as he sits down he stares down with a smile he sits up flipping his hair up with a cute wink and he says his name in a sexy, heavy and gruff.

“My name is Charlie Hunnam”

“Good boi”

“I ain’t a boi ”

“Yes you are”

“I don’t have to stand for this”

“Sit down”

“Baby”

“Cut it out “

“I love you “

“Get off me”

“Stare in to the light “

“Give in”

“I can’t stop “

“Why can’t I think?”

“I can’t move”

“Spread your legs”

“Take off your pants”

“Rise up “

“Remove your clothes”

Chris Wood and Jessie Metcalf waltz into the auditorium for the audition but soon the power of the lights, the heat of night and so much more consume them they are lost to my power as well.

The end

[sarcasticsouthernbookworm]

Like obviously all the female cast of Birds of Prey is fantastic, but Ewan McGregor and Chris Messina really ate up their roles too

[denimbex1986]

'...Lewis and Messina join Andrew Scott, Brendan Fraser, and Kerry Condon already tapped for the movie. Scott is fresh off a role opposite Paul Mescal in All of Us Strangers, and also played C in the Daniel Craig-led James Bond film, Spectre. He also played the lead role of Tom Ripley alongside Dakota Fanning in the Netflix original series, Ripley...'

[shrutithemisfit]

This is my first fanmade video of my Batman fancast. Enjoy!!!

I'm not an expert in video editing, but I tried my best and hope you like it.

Cast:

Colin Morgan as Bruce Wayne/ Batman

Katie McGrath as Selina Kyle/ Catwoman

Jason Isaacs as Alfred Pennyworth

Santiago Cabrera as James Gordon

David Mazouz as young Bruce Wayne

Camren Bicondova as young Selina Kyle

Sam Reid as Thomas Wayne

Anna Torv as Martha Wayne

Angel Coulby as Barbara Kean Gordon

Taylor Zakhar Perez as Dick Grayson

Asa Butterfield as Jason Todd

Rose Leslie as Dr. Pamela Lillian/Poison Ivy

Steven Buscemi as Carmine Falcone

James Marsden as Harvey Dent/ Two Face

Yael Grobglas as Gilda Dent

Keith David as Lucius Fox

Chris Messina as Alberto Falcone

Phoebe Tonkin as Sofia Falcone

James Gandolfini as Sal Maroni

Ben Barnes as Thomas Elliot

Claudia Doumit as Talia al Ghul

Natalie Dormer as Dr. Harleen Frances Quinzel/ Harley Quinn

Jonathan Bailey as Jack Oswald White/Joker

Paget Brewster as Leslie Thomkins

Simon Quarterman as Edward Nygma/The Riddler

Gemma Chan as Lady Shiva

[cantsayidont]

More hateration holleration. No poster art; I didn't like any of these movies and don't feel like looking at their posters again.

ABOUT HIM & HER (2023): Experimental romantic drama, set in 1989 and "based on a true memory," about an unnamed man (Callan McAuliffe) and an unnamed woman (Cristina Spruell) who are accidentally connected by a phone company mishap. Over a series of subsequent long-distance conversations, they become emotionally entangled and eventually agree to meet, but they're both so afraid that finally seeing each other face-to-face will shatter their delicate intimacy that they spend the entire second half of the film trying to avoid looking at one another, even though they both desperately want to. The characters' interactions are carefully staged throughout (at first, they're just voices, and we don't get a look at either of their faces until they're both in the hotel room), but this initially touching conceit eventually becomes SO contrived that the story's genuine poignancy is undercut by a growing resentment at being jerked around in such a heavy-handed way. This is perhaps the ultimate romantic idiot plot: Despite their insecurity, the characters are both skinny, conventionally attractive, straight white cisgender adults of similar age and class; the only thing keeping them apart is their reluctance to (literally) just open their eyes, and there's no reason to assume that even a failure of nerve on that front would be irreconcilable save for the filmmakers' stubborn commitment to the melancholy bit. (The end credits claim that the lead actors never saw each other or even learned each other's name until the film's premiere.)

I.S.S. (2023): Upsettingly grim apocalyptic drama — not really a thriller, though billed as one — about six astronauts aboard the International Space Station, three Americans (Ariana DeBose, Chris Messina, and John Gallagher Jr.) and three Russians (Masha Mashkova, Costa Ronin, and Pilou Asbæk), whose respective governments order them to turn on each other as nuclear war breaks out on Earth. Well-acted and generally well-made, but there's little real suspense because an unbearably bleak outcome is always a certainty, making the fates of the individual characters a more or less moot point; the only leavening factor the script can offer is a contrived subplot involving an experimental treatment for radiation poisoning, which is clearly too little, too late in the face of the global nuclear holocaust the characters see unfolding on the surface below. A stressful downer that makes Lars von Trier's nightmarish 2011 end-of-the-world movie MELANCHOLIA seem like a screwball comedy by comparison.

PARALLEL (2024): Unconvincing sci-fi drama, cowritten by stars Aldis and Edwin Hodge (and based on a 2019 Chinese film) about unhappy spouses Vanessa (Danielle Deadwyler) and Alex (Aldis Hodge), who are staying in a remote lake house with Alex's brother Martel (Edwin Hodge) as they struggle to come to grips with the recent death of their young son. The woods surrounding the house are also a nexus of parallel timelines, where alternate versions of the characters seek to supplant one another in what they hope will be better versions of their previous lives. It's nice to see this kind of sci-fi allegory with an all-Black cast, but it doesn't really work dramatically, marred by an over-reliance on exposition and some rather arbitrary rules (which the characters accept far more readily than it seems like they should under the circumstances) that make the plot's rapidly escalating violence hard to swallow. Aldis Hodge comes across well as always, but Deadwyler's part doesn't allow for much emotional nuance, and Edwin Hodge is stuck in an awkward third-wheel role.

PASSAGES (2023): Glum, dishearteningly biphobic French drama about a married man called Tomas (Franz Rogowski) who spurns his husband Martin (Ben Whishaw) for a younger woman called Agathe (Adèle Exarchopoulos) and then attempts to retreat to Martin after Agathe becomes pregnant, eventually managing to alienate them both. Why either was ever interested in him in the first place is never very clear, as Tomas is unattractive, solipsistic, and thoroughly unsympathetic (though Martin is no prize himself, leaving Agathe as the most tolerable character basically by default). All of the characters are thinly drawn, and some interesting directorial choices can't make up for the film's conspicuous lack of warmth or its aggravating determination to equate Tomas's bisexuality (a word the script studiously avoids) with his consuming selfishness and inability to commit emotionally.

[power-chords]

@wintercorrybriea to be continued, since the roster of dramatis personae is quite expansive, but you asked for my Heat 2 fantasy cast… so here are my personal picks for the core three!

Michael Zegen as 1988 Vincent Hanna:

Michael Imperioli as 2000 Vincent Hanna:

Chris Messina as 1988 Neil McCauley:

Chris Zylka as 1988 and 2000 Chris Shiherlis (here I think we can get away with the same actor):

[birdmans]

And after sarah wins her emmy they cast her in the eventual gena rowlands biopic with chris messina and she gets an oscar

[asmoonlightthroughthepines]

8 Shows To Know Me

Thank you @maplefiasco for tagging me *months* ago 🙈 Do check her post for excellent shows recommendations!

If you see this post on your dash, please consider yourself (no-pressure) tagged, whether we’re in a follower, mutual or complete strangers situation :)

Coming up with "shows to know me" was more challenging that I thought? In the end I chose shows I have often rewatched and that never fail to cheer me up. In no particular order:

Remington Steele

This show is a delight and a half. For years growing up it was on channel 3 in France every summer, and every rewatch makes me feel like the happiest teenager. Expect RayBans and vintage cars, because this is 80s LA with an Old Hollywood, Spencer Tracy/Katharine Hepburn inspiration. Unfortunately it's become impossible to find in Europe/France, and my entire family laments this fact on a monthly basis.

The Newsroom

If you get one thing out of this post, it’s to give The Newsroom a try. Not everyone loves Sorkin, in fact several of my friends hate this show, but I LOVE it. It’s chaotic. It’s fast. It’s idealistic. Everyone is a genius at their job and an idiot in their personal life. And the cast! Emily Mortimer, Jeff Daniels and Sam Waterston are superb! Olivia Munn and Thomas Sadoski are spectacular! Dev Patel and David Harbour are delightful! And the supporting cast - Jane Fonda! Chris Messina! Terry Crews! BJ Novak! Only this show would make me use so many adjectives and exclamation marks.

Hart of Dixie

This is my guilty pleasure, “won’t tell people about it because they’ll think I’m a basic bitch" show. It’s super cozy, the clothes are great, the dudes are hot, there’s a pet alligator called Burt Reynolds, the folksy-country soundtrack is fun, everyone is nice and walks around the WBros PLL and Gilmore Girls lot fake southern town with a pastry and home-baked pie in hand, and nothing really bad ever happens. Truly the happiest of basic bitch shows.

The Marvelous Mrs Maisel

I ignored Mrs Maisel for years because I’m not a big stand up or 50s style person, but it turned out to be one of the shows that’s made me laugh the most in the history of shows. It’s funny, it’s warm and it does more for Jewish humour than most pieces of media (The Nanny is the exception) since Annie Hall’s Easter lunch scene. I didn’t care much for s4 (style really took over content for me) and s5 is.. well I just don’t know how they explain a lot of those choices there. But man, s1-2 is something I would (and will) happily rewatch on a regular basis.

Friends It’s not original, it's "90s diverse" but sue me. I’m old enough to have watched it with my siblings when it first came out (VHS, baby!) and it’ll never not feel cozy and fun. I won’t catch it on tv because ad breaks will reduce it to unfunny, memeable catchphrases, but every few years I’ll pop a couple of seasons in the dvd player (DVDs, baby!) and it’ll still make me laugh like it’s my first time watching it.

Arrested Development

Do I need to explain? Yes s4 was half good/half bad when it was released (and somehow made mostly bad when it was re-edited) and I pretend s5 doesn’t exist. But seasons 1-3 are the definition of perfect tv! And in case you didn’t know, Jason Bateman and Will Arnett host a podcast (along with Sean Hayes of Will and Grace) called Smartless; the episode with Tony Hale (Buster) as the guest had me in literal tears.

Chuck

There’s a scene where Chuck’s best friend Morgan says that he’s spent years devising a work system that allows him to do as little as possible at his job, and he’s not about to ruin that by accepting a promotion. My entire family quotes this on a regular basis. I have watched s1-3 at least half a dozen times and just typing that makes me want to watch it again. Love the music, the ridiculous spy adventures and the unhinged background characters. Also Chuck looks exactly like one of my high school best friends which makes it even funnier.

24

LOOK. I did not expect this show to take over my life the way it did, and tbh I don’t really have an 8th show that hits both “will rewatch this many times” and “makes me feel warm and happy”. So I went for the one that currently has 12 drafts sitting in my fic folder. It’s violent and ridiculous and is equally funny (see ridiculous) and angsty. It got me through the 2nd lockdown, on the edge of my seat while live texting all nearly ten seasons of it to friends. But watch s1-4 and tell me you’re normal about Tony x Michelle. I dare you.

[sunnytastic]

Yes! You are correct about Danny, he IS the best character on the show and Chris Messina is a brilliant actor who gives a layered performance. Best actor on the cast and elevates Mindy. The first 3 seasons of TMP are good and funny (if a bit uneven at times but them's the breaks with 24 episodes per season). Post s3 feels like a different show to me, with bts drama and character assassinations, so I don't rewatch it, but you should give the whole show a fair shot :) Please like it XD

i'm liking the show a lot and i totally agree, danny is the best character on the show. he really grounds the show and provides a good straight man for the other characters to bounce their crazy off of while being funny in his right. very hard to do without being boring but he pulls it off well. i'm not always the best at finishing shows in general, but especially if the quality drops so we will see how far i make it

also, morgan <3 <3 <3

[thebuzztrack]

A Review of 'The Boogeyman' (2023)

I would not be hard-pressed to say watching The Boogeyman helped pass the time on a Monday morning matinee. 75% of the scare factor for this movie is the jump scares. I am usually annoyed by the shallow technique of the jump scare tactic in horror movies. I do appreciate the story's plot structure. It is the traditional three-act structure: set up a dilemma, play tug of war with the conflict and the villain, and then end the story with a face-off battle for a definitive conflict resolution. David Dastmalchian gave a fantastic performance as a bit character in the first act, whose sole purpose is to introduce the story's primary conflict. From a broad view, the movie is enjoyable to watch. But I wouldn't consider it an all-time favorite horror movie or anything comparable.

This film is adapted from a short story by Stephen King, a well-known and successful author in the horror genre. The plot revolves around two sisters tormented by an evil presence after the tragic death of their mother in a car accident. The director, Rob Savage, has previously gained recognition for his found-footage horror film Host (2020), which was entirely filmed during the COVID-19 lockdown. The cast includes Sophie Thatcher, Chris Messina, Vivien Lyra Blair, and David Dastmalchian.

The Boogeyman is intended to be a psychological thriller that will keep you on the edge of your seat from beginning to end. It's a refreshing departure from the typical jump-scare horror flicks and instead delves into deep themes of family, grief, and trauma. The film's sound design, cinematography, and editing are all expertly used to create an intense and claustrophobic atmosphere that will leave you uneasy. It also has several well-executed and unexpected scares, such as the Boogeyman's sudden appearances in the mirror, under the bed, and in the closet.

The acting performances in the movie are well done, particularly by the two young actresses who portray the sisters. Sophie Thatcher delivers a credible and touching performance as Sadie, a high school student who endeavors to protect her sister and cope with her grief. She portrays Sadie's bravery, vulnerability, and resoluteness as she confronts the Boogeyman and strives to save her family. Vivien Lyra Blair is endearing and poignant as Sawyer, a little girl who perceives things that are invisible to others. She depicts Sawyer's innocence, fear, and inquisitiveness as she interacts with the Boogeyman and tries to comprehend what is happening. Chris Messina also performs well as their father, who wrestles with his sorrow and culpability. He exhibits his fatherly love, anguish, and reluctance as he endeavors to aid his daughters and handle his job. As mentioned earlier, David Dastmalchian is eerie and menacing as Lester Billings, a patient of their father who introduces the Boogeyman into their lives. He portrays his character's insanity, desperation, and wickedness as he discloses his sinister secrets and motives.

The movie expertly balances fidelity to the source material with modern twists and alterations that elevate its cinematic quality. It delves deep into the Boogeyman's backstory, imbuing it with greater purpose and motivation beyond being a random monster. The film reveals the Boogeyman to be a proxy of its victims' collective fear and anguish. It introduces new characters and subplots that add depth to the narrative, delivering unexpected surprises. Notably, Dr. Weller, Sadie's friend Bethany, and Lester's wife all play crucial roles.

[ilcovodelbikersgrunf]

20th Century Studios ha diffuso, online, il trailer e il poster di The Boogeyman (2023), il nuovo adattamento cinematografico de Il babau, racconto presente in A volte ritornano (Night Shift), collezione di storie brevi di Stephen King. Scritto da Scott Beck, Bryan Woods e Mark Heyman, The Boogeyman vede alla regia Rob Savage (Host, Dashcam) e debutterà nelle sale USA il 2 giugno 2023.

La storia vede protagoniste Sadie Harper e Sawyer, due sorelle distrutte per la morte della madre e che sono state messe da parte dal padre, un terapeuta che sta facendo i conti con il suo dolore. Quando un paziente inaspettato si presenta a casa loro per chiedere aiuto al medico, trascinerà con sé anche una terrificante entità soprannaturale che tormenta le famiglie e si nutre della loro sofferenza.

Nel cast figurano Sophie Thatcher, Chris Messina, Vivien Lyra Blair (Bird Box), David Dastmalchian (The Suicide Squad: Missione suicida), Marin Ireland e Madison Hu.

[themovieblogonline]

Clint Eastwood’s Juror #2 is a testament to the filmmaker’s ability to weave personal morality with systemic dysfunction, delivering a legal thriller that’s as introspective as it is suspenseful. Featuring a nuanced script by Jonathan Abrams and a stellar ensemble cast led by Nicholas Hoult, Toni Collette, and J.K. Simmons, the film navigates themes of guilt, justice, and redemption in a tightly constructed narrative set against the backdrop of a high-profile murder trial in Savannah, Georgia. https://www.youtube.com/watch?v=czYUXo0R0oA Plot and Premise: Juror #2 is a gripping morality play, with the protagonist Justin Kemp (Nicholas Hoult) caught in an impossible situation. Called for jury duty in a murder trial, he gradually realizes that he may be responsible for the victim’s death. This central conceit sets the stage for a taut psychological and legal drama that explores the tension between self-preservation and the pursuit of justice. The film’s premise is compelling not just for its narrative hook but for the layered questions it raises about the fragility of truth in a flawed legal system. Performances: Nicholas Hoult delivers a career-defining performance as Justin Kemp, embodying the character’s inner turmoil with a restrained intensity. Hoult’s portrayal captures Justin’s battle with guilt and self-doubt as he struggles to reconcile his actions with the potential consequences of coming clean. The quiet moments of introspection, where Justin’s conflicting emotions simmer beneath the surface, are as riveting as the courtroom scenes. Toni Collette is equally magnetic as Faith Killebrew, the ambitious prosecutor whose moral compass is tested by her own career aspirations. Collette imbues Killebrew with a complex blend of pragmatism and vulnerability, making her a character as compelling as the case she’s trying to win. J.K. Simmons shines as Harold, a retired detective serving on the jury, who plays a pivotal role in unraveling the case. Simmons brings gravitas and an undercurrent of menace to the role, making Harold a figure of both wisdom and unpredictability. Meanwhile, Kiefer Sutherland delivers a memorable turn as James Sythe, the accused, bringing a raw intensity to the courtroom drama. Direction: Eastwood’s direction is both understated and impactful, emphasizing character over spectacle. The film’s pacing is deliberate, allowing tension to build gradually as the layers of the story unfold. Eastwood’s choice to set the narrative in Savannah, Georgia, adds a rich sense of place, with the city’s atmospheric streets and courtrooms serving as a backdrop for the unfolding drama. The courtroom scenes are staged with meticulous attention to detail, heightening the stakes of every testimony and objection. Eastwood also employs visual storytelling to great effect. Subtle visual motifs, such as the recurring presence of Justin’s car, become symbolic of his guilt and the weight of his decisions. The film’s muted color palette and naturalistic lighting further underscore the moral ambiguity at its core. Writing: Jonathan Abrams’ script is a masterclass in tension-building, skillfully balancing the personal and procedural elements of the story. The dialogue crackles with authenticity, particularly in the courtroom scenes, where legal jargon is seamlessly integrated into compelling exchanges. Abrams also excels in crafting morally complex characters; no one in Juror #2 is purely good or evil, and the script thrives in this gray area. The story is peppered with moments of introspection that elevate it beyond a conventional legal thriller. Justin’s conversations with his AA sponsor Larry (Chris Messina) offer profound insights into the character’s psyche while adding layers of thematic depth to the narrative. Themes: Juror #2 is a meditation on the nature of justice. The film challenges viewers to consider whether the legal system can truly deliver justice when its participants—jurors, lawyers, and defendants—are inherently flawed. It also delves into the personal cost of guilt, as Justin wrestles with the burden of his potential crime and the moral quandary of letting an innocent man take the fall. Redemption emerges as another key theme, explored through Justin’s journey of self-discovery and Killebrew’s internal conflict about her role in pursuing a conviction. These thematic undercurrents lend the film a philosophical richness that lingers long after the credits roll. Technical Achievements: The film’s technical elements are top-notch, from the evocative cinematography by Yves Bélanger to the subtle score by Mark Mancina. Bélanger’s camera work captures the tension of the courtroom and the isolation of Justin’s inner world with equal finesse. The score, understated yet effective, heightens the emotional weight of key moments without overshadowing the performances. Flaws: While Juror #2 is an engrossing legal thriller, it isn’t without its flaws. The pacing, though deliberate, occasionally veers into sluggish territory, particularly in the middle act. Additionally, some viewers might find the resolution too ambiguous, as the film leaves certain moral questions unanswered. While this ambiguity aligns with the film’s themes, it may frustrate those seeking a more definitive conclusion. Overall: Clint Eastwood’s Juror #2 is a triumph of character-driven storytelling, offering a legal thriller that is as emotionally resonant as it is intellectually engaging. Anchored by a stellar cast and a morally intricate script, the film deftly navigates the complexities of guilt, justice, and redemption, making it a standout entry in Eastwood’s illustrious career. Read the full article