The Lincoln Lawyer (2011)

Based on the novel by Michael Connelly
Screenplay by John Romano
Directed by Brad Furman

Adaptations, like sequels are tricky in that they have a built in fan base that is considered the prime audience for a potential movie. However, sometimes that prime audience is such a minor subsection of the overall cinema landscape, that it's felt certain novels need to be "gussied up" so to speak, to appeal to a broader audience. The Coens chose against this with No Country For Old Men and it turned out aces for them, they won most of the major Oscars with it. In some cases though, where the popularity of the author outweighs the popularity of the people involved with the movie, a more fine line approach is often taken.

Being a big Michael Connelly fan, like most fans, I first fretted with the news of the movie. Not over the casting of Matthew McConaughey, I agreed that he would be perfect. I was more worried about the inexperienced director, who had only an underperforming direct to video action feature under his belt, but I'd never seen it. However, they had Connelly's blessing on the script, which was the most important aspect for me, but I couldn't help but feel a sense of apprehension as I walked into the theater.

From the opening credits, any fears went right out the window as "Ain't No Love" opens on the soundtrack and stylish camerawork reveals Mickey's journey through the city of LA, edited like a classic 70's crime film. The film continues to hit all the right marks, starting with the strength of the excellent cast, the beautiful location photography establishing Los Angeles as a firm setting, and the constant flow of information flying at the viewer in a steady, even manner.

Like Connelly's novel, the film version of this story subverts the legal thriller as a genre. Mickey Haller is an anti-hero criminal defense attorney, loved by few, hated by many, but he's a man of certain principles. Furman manages to establish Haller as a whole person within the first 10 minutes, mentioning in passing his various detriments, so they are there early, only to have Mickey to rise to defy them later.

By the time Mickey takes the case with Louis Roulet (Ryan Phillippe), who is charged with assault and attempted rape, but comes from a wealthy family. Seeing dollar signs, Haller takes the case, quickly meeting Roulet and wondering what type of client he's aligned himself with, disappointed he can't read Roulet faster.

As Haller prepares for the case, he and his investigator Frank (William H. Macy) stumble onto a few things in the case that don't seem right, quickly Mickey thinks he might actually be defending an innocent man, something the jaded defense lawyer felt he never did.

Things become intense when Mickey's turbulent personal life with his ex-wife/prosecutor Maggie and his daughter Hailey clashes with the case in a way Mickey doesn't like. Before he's even aware of it, Roulet is pulling his strings, and he wonders how tangled this case really is.

Like all Connelly stories, plot is king, and characters paint the canvas in rich color. When you get a solid all around cast, with known character actors in nearly every role, all you're doing is perfectly serving a writer with a keyboard full of interesting characters. No one seems out of place, or in a different movie, all the characters fit, and the plot is kept tight while also allowing time for character relationships to actually grow.

This was the most surprising aspect for me, the overall direction. Furman's ability to balance humor and tragedy, a cast of great veteran actors playing distinct characters, an infectious soundtrack, gorgeous photography and inventive camerawork used in conjunction with creative editing theories, I dare say this film reminds me of a Scorsese film.

There's a scene where Haller is eating the witness on the stand alive, and as he speaks, the camera spins around him, taking in his power, and then Haller steps out of it, and the camera stops, it's such an interesting moment because you rarely see inventive camerawork like that to tell the story without actually saying the words. Brad Furman proves that stylistic, substantial dramas can still exist, and the box office reports show that there is an audience for it.

Michael Connelly fans can officially rejoice. While Blood Work was not a bad film, it wasn't Connelly's novel, and it didn't make a huge commercial splash. Neither did The Lincoln Lawyer, but it's done respectably, and proves the commercial viability of Connelly's stories. Maybe that will get some of the people that own options on his novels working on the films, or get them to sell to someone that wants to do an entire Harry Bosch series, which would be a truly epic undertaking. If there's anything the past few years have taught us, on a budget, this type of fiction is commercially viable.

When it's done right, as with The Lincoln Lawyer, firing on all cylinders to be a funny, poignant, exciting, and thrilling film, the mystery genre excels like no other. The trouble is, with even the slightest element done wrong, it comes off cheesy and boring, which happens all too often. Kudos to Brad Furman, the fantastic cast, the editor, the director of photography, and the camera men for creating such a good looking, solid film. Of course a good below the line crew made it all possible. Connelly fans finally have found hope.

9.5/10 (A)