Aaron Sorkin follows up 2017’s “Molly’s Game” with a return to a familiar location – the courtroom. 28 years after the theatrical release of “A Few Good Men”, Sorkin sets his sights on a true story.
Once again demonstrating why he’s my favourite screenwriter, he weaves a compelling interpretation of events and delivers it with exacting precision. He successfully avoids the pitfalls of courtroom dramas by keeping the courtroom scenes fast paced and consistently engaging. The film is relatively accurate too, even if the ending is a touch too happy.
The condensing of content affects the film, in some ways downplaying the seriousness of certain events (Seale’s gagging for instance) and perhaps leaving the characters without too much development. It’s a credit to Sorkin’s writing and the cast’s work that it isn’t a critical error. There are a few lines Sorkin reuses from previous works of his, which is a minor annoyance.
The cast is superb. I’ve never cared for Redmayne, but he does well here. Cohen is excellent, and the battle between Rylance and #FrankLangella is entertaining.
We finally get a good 2020 film.
The presentation was excellent. It’s razor sharp with accurate levels and colours, and the grading was tastefully done. A few moments of banding and compression artefacts give away the fact that it was a streaming watch.
Sorkin’s work isn’t often known for complex sound design, but the soundtrack was dynamic, the critical dialogue was crystal clear, and sound effects were nuanced. A good lossy mix.