No matter what his harshest critics have to say, 94-year-old Clint Eastwood is still putting in the work, a fact that can’t be ignored with many speculating that his newest film, Juror #2, may be his last.

Eastwood’s recent work has been spotty and inconsistent, with some hitting the Oscars in just the right way (see 2014’s American Sniper) while his reflective westerns mostly get ignored — an industry-wide change from the kind of big-budget epics like Unforgiven and The Good, the Bad and the Ugly that used to be the source of Eastwood’s goodwill.

But his courtroom drama Juror #2 is notably different. The premise itself is simple enough: a happily married man, Justin (Nicholas Hoult), is asked to serve on a jury to decide whether a drunk man killed his wife or not. It doesn’t take long for the details of the case to sink in, though, leaving Justin to realize that he actually committed the crime that he’s now tasked to evaluate as a juror (this isn’t a spoiler). It’s a simple but fascinating premise that immediately kicks what could’ve been a dry courtroom drama into motion.

With a quietly compelling take on the United States justice system and the different principles and values that people cling to in search of a collective truth, Eastwood crafts one of his most engaging and compact films in recent memory. Juror #2, as familiar as the courtroom drama may be to us, is the kind of film that could’ve only been made by a director like Eastwood: somebody who’s been around long enough to cling onto deeply American values about justice and also lose faith in the system.

Toni Collette’s excellent and subdued turn as a lawyer, who sees the accused man on trial (Gabriel Basso) as guilty without question, is one of the most interesting manifestations of the battles Eastwood has inside his head. Whereas some of Collette’s more infamous performances typically see her give big, emotional monologues — and excel at doing so — the smaller moments of contemplation here showcase her ever growing versatility as a chameleon-esque performer.

As a prosecutor who is also running a campaign for local office, Faith finds herself questioning her own values as holes get poked in the case by another juror played by J.K. Simmons. The case itself is interesting enough to warrant being the focus of the film but Eastwood is more drawn to seeing it as a catalyst for the larger questions on his mind. To what extent should people push aside their moral values to fall back on the systematic process. Where does our trust really lead if it’s blind?

The often humorous, although sometimes silly, deliberations that the jury has reveals everybody’s personal biases that draw them to one stance or another. All twelve members of the jury get vetted and questioned to ensure that they are able to serve as unbiased jurors, which Eastwood spends more time showing than your typical courtroom drama might. Jonathan Abrams’ rock-solid script uses the jury room not just as a place of questioning, but a ritual of judgment onto Justin as he endlessly wrestles with guilt.

At just under two hours, the film does slog from time to time, especially in choosing the few moments the viewer gets to spend with Justin alone as he searches for the right thing to do. Thankfully, the consistent central themes keep Juror #2 on track to its well-earned conclusion.

Justin’s wife, played by a mostly forgettable Zoey Deutch, is a crucial force as one of the few people that sees through Justin’s act. Hoult does quite good work here, especially in the moments that dive deeper into his character’s addiction to alcohol and the “everyday American life” he clings onto with his family. The most memorable performances come from the supporting turns from Collette and Simmons, though, and help land the script’s big ideas.

Juror #2 is not without a few rough spots in its screenplay and pacing, yet it remains a testament to Eastwood’s undeniable talent when paired with the right material. It’s part of the rare breed of adult mid-budget dramas that Hollywood is so starved of nowadays. While the theatrical release may be limited, it’s absolutely worth seeking out in theaters.

Court is in session and an old master, while not at the complete height of his prime, is still around.

Grade: B+

Oscars Prospects:
Likely: Best Supporting Actress (Toni Collette)
Should be Considered: Best Supporting Actress (Toni Collette), Best Original Screenplay

Release Date: November 1, 2024
Where to Watch: In Select Theaters