Confession: I'm absorbed to the abomination fiction of Michael Connelly, with a ammo next to the page-turners featuring advocate Mickey Haller, apostle of atrocious scumbags and the casual absent cause. So why was I afraid about seeing the cine adaptation of The Lincoln Lawyer, the aboriginal of the four Haller novels Connelly has accounting so far? (The Fifth Witness will be appear in April, and it's a corker.) Because Hollywood is abominable for blame up abiding things. Look what they did to James Patterson's Alex Cross mysteries.
Peter Travers reviews The Lincoln Lawyer in his account video series, "At the Movies With Peter Travers"
OK. Pause. Deep breath. The Lincoln Lawyer onscreen is a slam-bang bewilderment of a acknowledged thriller, abounding of whiplash energy, appetizing acting and - huge acclaim to administrator Brad Furman (The Take) and cinematographer Lukas Ettlin - a decadent, abominable faculty of Los Angeles as a absolute hell for the admirable and the damned.
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Best of all, a bang Matthew McConaughey gives his best achievement in years as Mick, cutting the appearance like a additional skin. To save money on an office, Mick works out of the aback bench of his Lincoln Continental, chauffeured Miss Daisy-style by Earl (Laurence Mason), in lieu of acknowledged fees. Mick has an ex-wife, Maggie (a memorably angry Marisa Tomei), who works for the DA (Josh Lucas); an eight-year-old babe he almost sees; and something he tries to hide: a alive conscience.
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Guilt eats at Mick over a above applicant (Michael Peña) accomplishing time for a abomination that ability accept complex Louis Roulet (Ryan Phillippe), the realtor stud he is currently arresting for attempted abduction and murder. Phillippe excels at suggesting the sins that appealing can conceal. There are aswell dank turns from the abundant William H. Macy as Mick's investigator, John Leguizamo as a active bond bondservant and Bryan Cranston as a detective who enjoys benumbed Mick. The Lincoln Lawyer keeps arising surprises. Maybe too many. Screenwriter John Romano (TV's Monk) has the unenviable assignment of packing Connelly's close atypical into a two-hour movie. Potholes? Yes. Dead ends? No. This is rock-solid entertainment. McConaughey, a cunning mesmerizer in the courtroom, steers this Lincoln into what could be a disorderly franchise. More, please. Soon.
From The Archives Issue 1127: March 31, 2011
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