Several good moments where the theme is omnipresent ("Judicial Consent" and "Black Thorn")Īnother James Horner influence in "Clue Glue" (3. The middle 3 tracks aside, it's pretty entertaining too for an occasional listen. Young tends to go experimental from time to time, but this one is pretty standard. Judicial Consent's biggest plus is perhaps the fact it's all pretty melodic, pretty straightforward. Truly the most potent moments are found near the end. But it's only at the end that everything erupts through powerful percussion and eerie piano. The opening is quite good, with again the hints towards Species and its mysterious theme. It's a pretty mysterious affair where piano and strings tend to tell it a lot eerier than most of Young's scores. For Judicial Consent, he went once again eerie without the stings of the orchestra (well most of the time). Movies that know how to mix the dangerous and the erotic often make edgy, highly diverting thrillers, but “Judicial Consent” is too obvious and too conscious of its form.Christopher Young occasionally swaps genres. As Martin, gifted character actor Coleman is wasted in an unrewarding role, while Wirth is there mostly to look good as the stranger with a “mysterious” motive. The training requirement is satisfied by attending a two-hour training program, Judicial Consent for Minors co-sponsored by CPCS, the National Lawyers Guild. Will Patton, usually brilliant in small, offbeat roles, is miscast here in the underwritten role of Gwen’s bland husband we never get a sense of the kind of marriage the Warwicks have. Weiss & Collada: Judicial Consent to Marry 289 were sixteen years or under the divorce rate rose to four times that experienced by partners wed at the mean. For instance, lawyers, particularly women, might find offensive a sex scene in Gwen’s office in which she’s shown reaching orgasm while negotiating an important assignment on the telephone. Dark lofts, swinging doors, empty parking lots and so on are all nicely handled, but they’re also familiar to an audience that always seems to be ahead of the pic’s characters.īedelia gives a charming, dominating performance, but the woman she plays is too intelligent and too bright to behave in such a senseless manner. Though a first-time helmer, Bindley gives his picture a smooth and polished look, displaying some mastery over the genre’s tricks - and visual cliches. The courtroom format relies heavily on finely tuned dialogue and unanticipated revelations, but Bindley’s writing, specifically in the court sequences, is borderline banal and the disclosures aren’t particularly suspenseful. Realizing she’s been set up, Gwen begins a desperate race against time to prove her innocence. Soon, what seemed “circumstantial” evidence turns out to be a well-planned murder, with Gwen as the prime suspect. When Gwen’s roguish colleague, Charles Matron (Dabney Coleman), “a chronic flirt,” is found dead in his office, she’s asked to preside over the case.
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