It’s a pity when certain recent events give some relevance to older films that otherwise don’t deserve attention. One of such films is Criminal Law, 1988 thriller directed by Martin Campbell. The plot is set in Boston and the protagonist, played by Gary Oldman, is Ben Chase, young and talented defence attorney who easily wins acquittal for Martin Thiel (played by Kevin Bacon), rich client who had been charged for brutal rape and murder of young woman. That should be the end of the case, but Thiel has other ideas and hires Chase as his attorney while committing another murder. Until that time Chase was professional who loyally represented his client’s interests, but now he knows he is dealing with sadistic manipulative psychopath and decides to remain as his attorney only in order to find evidence that would bring Thiel down. His plan is to slip that evidence to police and prosecutors, but Thiel has few tricks up his sleeve. Matters are further complicated when Chase meets Ellen Faulkner (played by Karen Young), young friend of a murdered woman, and starts romantic relationship with her.
British director Martin Campbell has very good resume, which includes two James Bond films and Edge of Darkness, one of the most impressive 1980s miniseries. Here, however, his talents seem powerless when applied to meaningless, messy and unconvincing script by Mark Kasdan (brother of much better known Lawrence Kasdan). Campbell experiments with style and insists on scenes being shot in rain and dark in an apparent attempt to give certain “noirish” vibes to the proceedings, but the result is confusing for audience and only makes the film look unattractive. The most memorable scene in the film is the one that makes least sense – montage of Chase playing squash and having passionate sex with Ellen, only to Thiel’s face appears as vision to protagonist, in an apparent but ill-advised attempt to suggest homoerotic component to attorney-client relationship. The actors do their best, especially youthful-looking Oldman in one of his early roles when he didn’t play over-the-top villains. Kevin Bacon is also good but this is one of the roles that help his typecasting in the roles of dangerous psychopaths. While the film starts promisingly, with the idea to explore issues of legal ethics, in the second half it succumbs to cliches, including plot strands that gives pseudo-Freudian explanation for Thiel’s murderous ways in form of anger towards his mother (played by Elizabeth Shepherd) who earns his living as abortionist. This theme, which could be more interesting now after controversies related to repeal to Roe vs. Wade, is handled predictably poorly and the subplot gets resolved in ultra-violent manner, just like the very poor finale. Famed composer Jerry Goldsmith wrote musical score, but you couldn’t tell, because it is barely used in the film and what the audience hear is disappointing compared to his classic soundtracks.
RATING: 3/10 (+)
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