"If you look closely enough, you'll find everything has a weak spot where it can break, sooner or later."
"Fracture," the 2007 courtroom thriller with Anthony Hopkins and Ryan Gosling, is like an anti-John Grisham story. You know how in Grisham movies you're always rooting for the idealistic lawyer or law student, whether it's Tom Cruise, Julia Roberts, Susan Sarandon, Matthew McConaughey, Chris O'Donnell, Matt Damon, or whomever, to be all noble defending an innocent client or pursuing an evil corporation or a corrupt company director. Well, here we don't have such clear-cut good guys and bad guys. In fact, for most of the movie, everybody is a bad guy. Which elevates the film above most of its rivals. Well, that and it's new high-definition picture and sound.
Hopkins' character is truly bad. He plays Ted Crawford, a brilliant and successful aeronautics engineer with a cunning mind, whose love of games and puzzles tells us a lot about him. When he discovers that his beautiful and much-younger wife Jennifer (Embeth Davidtz) is having an affair, he shoots her, point blank in the face, and then admits the deed to the police.
But neither life nor death is so simple.
The man who takes the case to prosecute Crawford is almost as unsympathetic as the accused. He's Willy Beachum (Gosling), a young, arrogant lawyer working in the Los Angeles District Attorney's office, a man on his way up in the world of law. He's in his last weeks as a city prosecutor, having sold his soul and accepted a position at a prestigious corporate law firm. He takes on the Crawford case at the last minute because it's such a slam-dunk, open-and-shut proposition. After all, the police found Crawford in his house, standing over the body of his wife with a gun in his hand, and then they got a confession from him!
Ah, but if only.... You see, Willy is in a hurry, and Crawford is a sly genius. The wife is in a coma and cannot testify against her husband. The gun the police find on Crawford has never been fired. And it turns out the confession the police obtained from Crawford they secured under duress. Worse, the arresting officer in the case, Detective Lt. Robert Nunally (Billy Burke), turns out to be the very man with whom Crawford's wife was having the affair.
Am I giving away too much? I don't think so. All of this happens very fast in the first quarter of the film. It sets up the story's central conflict, presenting us and the lawyer with a dilemma.
Understand, Hopkins makes his character Crawford so diabolically clever and charming that it's hard actually to dislike him. Crawford reminds one of the protagonist in Patricia Highsmith's "Tom Ripley" novels, an amoral murderer who nevertheless possesses such charisma that we can't help hoping he'll get away with whatever crime he's committing. I mean, Hopkins' Crawford puts such precision and daring into his plan, it seems almost unfair for him to lose.
And Gosling makes Willy so thoroughly haughty and overbearing that despite his being the apparent hero, it's hard to cheer for him (the character has a 98% winning record in court, and he's damned proud of it). Gosling's Willy really is an ass, in whom, for reasons unknown, only his boss, District Attorney Joe Lubruto (David Strathairn), has any faith. Willy is the sort of person whom we can see will do almost anything to get ahead, a character trait not lost on his new supervisor and girlfriend, Nikki Gardner (Rosamund Pike), who appears to be about as ambitious and unfeeling as Willy is.
But when Crawford makes Willy look foolish in court, something that Willy has never experienced before, and it jeopardizes his chances with his new law firm, how will Willy react? Will he go after Crawford with renewed vigor just to get even and prove a point? Will he hang his head and try to make amends with his new bosses? Will he even continue in the field of law after what seems like a coming crushing defeat?
"Fracture" is a cat-and-mouse game of the best kind. We can always depend upon Hopkins to turn in a stellar performance, and while this one does not match his turn as Hannibal Lecter in "Silence of the Lambs," he does establish a devilishly engaging character, and his mannerisms, glances, and facial expressions are always fascinating. No, it's Gosling who is the x-factor here. Although he's been in several previous films, like "Murder by Numbers" and "Stay," it's hard to remember much about him. Yet in "Fracture" he reminds one a lot of Edward Norton in "Down in the Valley" or "The 25th Hour," where you're not quite sure about him, not quite certain you're on his side or ever will be because there's always something in the guy's personality, just under the surface, that makes him seem like there's more going on than meets the eye, and it might not be very nice.
Crawford finds Willy's character flaws, plays on his smugness, and designs every facet of his crime and his defense down to the finest detail. Is it a matter of which man is the smartest? Which is the cleverest? Or which is the most careful?
The writers, Daniel Pyne and Glenn Gers, do a good job keeping the film from lapsing into too much pure melodrama, recognizing that a first-rate thriller must rely as much on cerebral engagements as on physical action, with the former dominating the latter by quite a margin. Don't expect blood, guts, or hand-to-hand combat; a gunshot is the single incident of violence in the picture. The only place the writers let us down is with the ending. We can see it coming in advance, and it isn't quite the twist or shock that might make audiences want to see the movie again. Then, too, there is an air of righteous moral indignation and character reversal that creep in at the last, making the film a little too Hollywood pat and predictable. Until then, though, the screenplay is fairly thoughtful and literate.
I also liked most of director Gregory Hoblit's ("Primal Fear," "Fallen," "Hart's War") pacing in the film. He doesn't let the script's lengthy conversations bog down the forward thrust of the story line, which could easily have happened in so dialogue-driven a movie as this one. Instead, he develops the tension and suspense inherent in the words. What I didn't care for much, however, was Hoblit's penchant for flashy camera maneuvers --swirling shots, extreme wide-angles, excessive close-ups, and quick edits--that sometimes distract from the goings-on in the plot. A director has to know when enough is enough and when a good set of lines in the hands of a good set of actors is sufficient to carry the day.
I might also caution that the film carries an unabashedly moralistic tone, making Willy's experience something of a spiritual journey of enlightenment for him. This aspect of the story is perhaps a trifle overdone, but it does little to impede one's appreciation of the central conflict.
Warner/New Line use a single-layer BD25 and a VC-1 codec to transfer the movie's 2.40:1 theatrical aspect ratio to Blu-ray disc. The colors are rich but not always completely natural. Skin tones suffer the most and sometimes appear too dark, too red, or too purplish. They are, however, as I remember them from the movie theater: somewhat odd, often favoring golden hues and often too intense for real life. I can only assume this is what the filmmakers intended. Definition by HD standards is fine but not as crisp as it is in many other high-def transfers, with the picture lapsing into softness from time to time. The courtroom scenes come off best in terms of detail sharpness. The engineers seem to have left most of the film's inherent print grain intact, which is good, but the image does look slightly veiled, and displays only moderately deep black levels.
The best thing about the soundtrack is its quiet moments, whether you're listening in regular Dolby Digital or in lossless Dolby TrueHD 5.1. Indeed, it's the quiet that sets this soundtrack apart from its more rowdy brethren, the quiet making a bigger impact than any huge surge of noise could create. The TrueHD is the default, and not only is it outstanding in its tautness, dynamics, frequency range, balance, and realism, it makes excellent, subtle use of the surrounds as well. Listen, for instance, for the effective use of environmental sounds, the flutter of a bird when Ted fires the fatal shot, the background noise at Willy's office, the rain, the crickets, the cars, and the inevitable helicopter flyover. In keeping with the soundtrack's subtlety, the frequency extremes are not overly prominent, but the bass is strong when necessary and nicely integrated into the rest of the audio spectrum.
There aren't a lot of extras, but the ones that are here are pretty good. First, we get five deleted scenes in widescreen totaling a little over eleven minutes, followed by two alternate endings at about eleven minutes each. While I enjoyed the first of the two alternate endings, I found the second one redundant. Then we get widescreen trailer in high def.
Things wrap up with sixteen scene selections; pop-up menus; English, German, Polish, and Russian spoken languages; Spanish, German, Polish, Russian, and Ukrainian subtitles; and English captions for the hearing impaired.
"Fracture" is an above-average courtroom thriller that keeps afloat mainly because of the interaction of its two lead characters and the caliber of its stars. Hopkins is especially good, his Crawford character almost as much a monster as Hannibal Lecter, perhaps more so for Crawford's smug audacity and the injustice of his crime. Even if you don't leave the movie entirely satisfied, you won't have had a bad time, either.