定罪

CONVICTION is based on a true story, after Kenny Waters (Rockwell) is sentenced to life in prison without parole for the first degree murder, his sister Betty Anne (Swank), firmly believes in his innocence, decides to become a lawyer herself so that she can legally helps Kenny to clear his crime.

Director Tony Goldwyn (yes, the actor who plays the villain in Jerry Zucker’s GHOST, 1990) clearly knows he has a life-affirming story extraordinaire at hand, and according to whom, the most sensible way to tell it is to lay bare Betty Anne’ travails, setbacks and elation along the way as formulaic as possible, and let two-times Oscar winner Swank have another showcase to magnify an ordinary woman’s indomitable fortitude, and honestly, Swank excels in bringing about a compelling and four-square performance although the characterization never trespass out of the safe zone of respectability, the only time Betty Anne’s monomania shows up its underside is when she blows a fuse toward her friend, Abra Rice (Driver), a fellow johnny-come-lately attorney who is designed with a pure angelic heart with a big mouth, which later she patches up with ease.

While Betty Ann’s working-mother-attending-law-school-and-then-fighting-the-injustice trope is, at the very least, inspiringly watchable, Kenny’s 18-year stint behind the bars is only sketched with very broad strokes, and the life before that sees him as a incorrigible hellion (starting as a child, thick as thieves with Betty Anne, raising Cain due to parental negligence), which is much in Rockwell’s wheelhouse, thus substantiates what makes him an easy whipping boy here, but the whole iffy prosecution, solely riding on circumstantial evidences (two untrustworthy witnesses), never gets a fair deal in its exposition, and it is a missed opportunity not to plumb into the prickly ulterior motive behind the corrupted sergeant Nancy Taylor (Leo).

Elsewhere, CONVICTION is everything what a conventional legal drama looks like, light on the legalese (DNA testing is one operative word here) and grinding procedural endeavor (sympathetic persistence is another one here), orthodox in its message (the story itself serves as an anti-death penalty testimony and Kenny's reparation deal doesn’t even get to be mentioned once), televisual in its anonymous imagery and unmemorable in its banal auditory accompaniment, plus above-average acting effort from tested thespians (Lewis is a two-scenes stealer here as a battered peckerwood), while it is despicable to witness such inequity in the police and legal department, what really interests CONVICTION is that an ordinary person like Betty Anne Waters can win this upward crusade of exoneration mostly by her own exertion speaks volumes of its larger milieu, as if proclaiming such feat can only be viable in a freedom-advocating country named USA, only considering how things have changed ever since, today, it is very hard to suppress a proverb like “even a stopped clock is right twice in a day” to its self-conscious patriotic agenda.

referential entries: Clint Eastwood’s MILLION DOLLAR BABY (2004, 8.0/10); RICHARD JEWELL (2019, 6.8/10).