Make It Rain As Promised.
Coppola’s courtroom drama has managed to engulf the essence of Grisham’s novel aptly, a but cheesy, a big edgy, this film reclaims the darkness of the courtroom with a commercial angle. As far as both the novel and the adapted screenplay is concerned, it is dipped in plethora of cliches, a street smart supporter, a stereotypical corrupt lawyer clashing horns against a newbie and an evil antisocial antagonist fabricated as a behemoth untouched firm. And with these familiar elements comes seen-this-seen-that conflicts and solutions, a bug on a phone, a hidden witness, few typical Grisham insights on not-so-popular laws and tricks that are just anticipated and also enjoyed.
But with these uneasiness and easiness, Coppola gets you right where he wants you to be, his execution helps up the stakes, like when Damon’s deposition goes wrong and when he fumbles in the courtroom. These are the moments elevated by both the execution and the performance and Damon at charge, he feels more comfortable in this suit than Cruise ever did on “The Firm”. Supported by DeVito who is the surprise package that is both delightful and exhilarating to encounter while teaching a new manual to Damon as he steps out to the college door.
Personally, I felt Voight was not stretching his muscles out as expected but felt constrained in his suit to the mere pawn-ness of his game. Among many subplots, Danes’s spooky track that teases you for its trajectory adds a more exonerated note to both the characters and the viewers and shines a mature light. As always, the last act often comes off as a cheap but essential shot that preaches on high volume in a podium staged way too above for us to care. The Rainmaker is good as far as it accepts its territories, as soon as it attempts to aviate, the flight grows risky.