Rated R for some violence, sexual content and language
Cast: Matthew McConaughey, Marisa Tomei, Ryan Phillippe, William H. Macy, Michael Pena
Director: Brad Furman
"The most dangerous client..." muses the attorney at the center of "The Lincoln Lawyer" as he recounts a saying from his father. "...is an innocent one. If you let an innocent man go to jail, you'll never be able to live with yourself. Better to defend the guilty."
That may indeed be as cynical as it gets, but it has served Michael "Mick" Haller (Matthew McConaughey) well, as he has embraced that approach with a conviction reserved for more idealistic legal eagles. He earned the nickname "Lincoln Lawyer" because he travels around town in a chauffeured Lincoln Continental after losing his driver's license. The suspension was lifted a while back, but he has gotten used to his office doubling as his transportation. I guess when you defend only those you believe to be guilty, it's better to stay constantly on the move. His career leaves little room for romance, as Haller only pauses for flings with his prosecutor ex-wife, Maggie (Marisa Tomei). The sexual attraction has never dissipated between the two, even though their conflicting ideals impeded any chance of a successful marriage.
"The Lincoln Lawyer" is a skillful film adaptation of an ever more skillful novel. The book was penned by Michael Connelly, one of the highest-echelon crime writers working today, though his books don't have the cult following of Patterson or Grafton. It's a sad literary truth that the more intelligent, highbrow writing doesn't always translate into the greatest volume of readership.
Despite his slick, fast-talking persona and jaded preference toward defending the guilty, Haller takes a clinical, detached, detail-oriented approach to procuring a client's best defense. He's an exceptional attorney. His latest case is brought to him through back channels, via a police precinct contact (John Leguizamo). A rich, spoiled snot of a man named Louis Roulet (Ryan Phillippe) has been arrested for the assault and rape of a known prostitute. He claims he's innocent. His real-estate tycoon mother (Frances Fisher) will spare no expense on her son's defense. They have a family attorney (Bob Gunton) whose only purpose seems to be in adding up the billable hours. This is the big time, and only a lawyer of Haller's reputation can be of assistance.
Right away, the shadiness of Roulet's personality makes its presence known. "This kid just feels wrong to me," observes Haller's chief investigator (William H. Macy). Roulet is the kind of defendant familiar in stories like this. Phillippe plays him as an egomaniacal twit who somehow covets the fact that he's a complete asshole. This is neither here nor there for Haller, who merely seeks the avenue toward the speediest defense...
...except that during his own investigative work, Haller sees a similarity to a case from years earlier. Similar wounds on the victim. Similar method of assault. Problem is, the defendant in that case (Michael Pena) was convincingly persuaded by Haller to take a plea, despite his own vehement declarations of innocence. This throws Haller's whole perspective into a state of chaos. Is Roulet guilty, or merely covering up something bigger? If it is possible that Roulet is guilty, how can Haller make things right? Is that even possible when the bent code of ethics you've lived by no longer serves your conscience?
There are twists and turns aplenty here. Roulet may or may not be guilty of these crimes, but we can tell right off the bat that he'll be guilty of firing up his own means of influence to steer the case in the direction he best sees fit. The last forty-five minutes of the movie is a choreographed two-step of courtroom prestidigitation, as Roulet maintains a manipulative hold on Haller's defense while Haller leads DA Minton (Josh Lucas) into a trap.
As with any thriller, the ending may seem too neatly wrapped up in a nice package but to the film's credit, I never minded even as the bow was being applied. One of the things the movie does so well is create painstakingly real characters facing complex moral dilemmas, then allowing their alterable perspectives to dictate the flow of the story. There's an effortless fluidity to the narrative, especially in the concluding courtroom scenes. The screenplay by John Romano wisely avoids any unnecessary histrionics while the smooth, confident direction of Brad Furman (“The Take”) never allows the plot to override the story's central moral dilemma. Even the most crucial plot points feel muted so as not to upstage the colorful characters.
Matthew McConaughey's track record with role choice is distinctly spotty, and he was a bit over-hyped in the media when he first came onto the scene in "A Time to Kill." But when he finds the right role, he embodies it to perfection. This is as close to ideal casting as it gets. Mick Haller is a man those around him either completely love or totally hate, and it's a tribute to McConaughey's performance that we can sympathize 100% with both reactions.
The trick, I think, to the movie's success doesn't lie in the number of plot twists, but that it never feels burdened by them. The best cinematic sleight of hand doesn't involve getting us to guess the outcome, but engaging our elemental interest to such a degree that we don't feel the need to try.
* * * 1/2 out of * * * * stars
