a5c7b9f00b Bobby Earl is facing the electric chair for the murder of a young girl. Eight years after the crime he calls in Paul Armstrong, a professor of law, to help prove his innocence. Armstrong quickly uncovers some overlooked evidence to present to the local police, but they aren't interested - Bobby was their killer.
A Harvard professor is lured back into the courtroom after 25 years to take the case of a young black man condemned to death for the horrific murder of a child.
The performances of Fishbourne (who appears strangely funny somehow) and (short featured)Ed Harris are remarkable, unlike Connery's who doesn't appear to find sense in his role and ends up in the motorial behaviour of a 80yr old man. In fact the screenplay doesn't make sense; imagine a 60 min. happy ending-plot plus a sudden turn appendix without any argumental structure in respect to the characters. It's more an accident than a screenplay and may be good for examination purposes at screen-wrights' schools. The more you remind the details the stronger this impression gets. The capital punishment is not an issue here, although it is a subject from the beginning; it sort of fades away without further comment. The subject-matter and environment could have been good.
Despite not having practiced law for decades, teacher and anti-death penalty speaker Paul Armstrong takes the case of a young black man (Bobby Earl) who has been on death row for almost 8 years and needs help with an appeal. Armstrong investigates and finds that the police beat a confession out of Earl and that much of the evidence was shaky at best. Despite coming up against local resistance, Armstrong finds his case builds gradually but realises just how much of a case he has when he is directed to the original murder weapon – by a different prisoner, the serial killer Blair Sullivan.<br/><br/>Although I often find myself betrayed by the genre, I will always give the airport-novel turned crime thriller film a try because they have the potential to be slick enough to get past the usual silly twists and familiar turns. Here is just such an example, the budget and the big name cast all point to a solid film and,is so often the case, they are only let down by a script that starts well but then falls into the usual big shock twists and action/thriller ending. For most of the film the plot is interesting and has pace but once Sullivan is introduced it starts to lose its grip. The twists and turns are a bit too much and the final personal confrontation just seemed to be the logical place to end the film even if it lacked any sort of imagination or uniqueness. Of course for much of the film its pace and tension holds you in your seat and it was a shame when it just went down the path that all the films in this genre do – I still enjoyed it for what it was but I had hoped it would be better than average but it wasn't.<br/><br/>The cast implied that things would be better in terms of writing but, looking back, I suppose it isn't hard to get lots of big names for this genreit always seemed to provide a reasonable hit. Connery is good in the lead because he has a good presence and works well with the usual dialogue given him – he has very little character to work with but he is Sean Connery and, for me, that's enough! He also has good chemistry with Fishburne who has an enjoyably complex character and seems to fit his role. Underwood is OK until the end where he changes too much and without reason; he is not convincing enough to pull it off and we don't feel threatened by him at the end, meaning it lacks punch and intensity. Chapshaw is given nothing to do for most of the film and her eventual connection is poor. Ed Harris is a massive ham and he knows it, blowing his character into a larger than life performance that would be silly in any other film other than this type of thing. He is too OTT but it more or less works. The support cast is pretty impressive and contains plenty of well known faces suchNed Beatty, Chris Sarandon, George Plimpton and a very young Scarlet Johansson.<br/><br/>Overall this is an average film but it is one that is slickly enjoyable in the same way that many of the genre are – deeply flawed but energetic enough to more or less cover its plot holes. The strong cast all do well even if they are not given anything special to work with and some of them are no more than cameos. All told this isn't very good but it is quite fun anyway.

Harvard law professor Paul Armstrong (<a href="/name/nm0000125/">Sean Connery</a>) is asked by death row inmate Bobby Earl Ferguson (<a href="/name/nm0005516/">Blair Underwood</a>) to prove his innocence eight years after he was convicted for raping and murdering 11-year-old Joanie Shriver (<a href="/name/nm0437261/">Barbara Jean Kane</a>). A strong opponent against capital punishment, Paul takes the case, against the threats of Sheriff Tanny Brown (<a href="/name/nm0000401/">Laurence Fishburne</a>), the chief detective on the case and the one who coerced a confession from Bobby Earl. Paul successfully uncovers some overlooked evidence and gets Bobby Earl released from prison but quickly learns that there is more to the case than meets the eye and that his wife Laurie (<a href="/name/nm0001009/">Kate Capshaw</a>) and young daughter Katie (<a href="/name/nm0424060/">Scarlett Johansson</a>) are in grave danger. Just Cause is a 1992 novel by American psychological thriller writer John Katzenbach. The novel was adapted for the movie by American screenwriters Jeb Stuart and Peter Stone. Most likely it was sweet tea, a style of iced tea common in the Southern United States. At its simplest level, it is merely black tea with sugar but may contain flavorings, suchraspberry or mint. Sugar content can be quite high, suggesting that Brown may have consumed itan energy drink. The culprit is not mentioned in the movie. Some viewers think it might have been Sheriff Brown or Detective J.T. Wilcox (<a href="/name/nm0614887/">Christopher Murray</a>). Others think it was merely a disgruntled Ochopee resident, since everyone in town knew that Armstrong was poking around and they were unhappy about him opening old wounds. No one, not even Blair Sullivan (<a href="/name/nm0000438/">Ed Harris</a>), knows the answer. As Blair explained to Armstrong, the "Behavioral Science boys" tried to blame it on his parents beating, abusing, and "sexing" him, but he poohpoohed that idea, saying only "there ain't no formula for people like me…just a predisposition for an appetite." In other words, Sullivan thinks he was born that way (nature) not created by his environment (nurture). Killing people brought a satisfaction to him. There was probably no revenge in killing his parents. He just had it done to have one last bit of joy before going to the chair. Realizing that Bobby Earl has taken Laurie and Katie, Paul and Tanny follow Laurie's car but lose it when a bridge opens in front of them to let a boat pass. On a hunch, they head out to the Everglade swamp where they find Laurie's car parked, so they split up to search for them. While wading through the swamp, Tanny is shot by Bobby Earl. Meanwhile, Paul sees a light inside the hunting shack, peeks in, and sees Laurie and Katie tied to chairs. He tries to untie them, but Bobby Earl suddenly bursts through the door. Bobby Earl holds a knife against Laurie's neck, explaining that she's the one he's been waiting to get for the past nine years, ever since she was the prosecutor on his kidnapping case in Dade County. In order to make a name for herself, Laurie had Bobby Earl held over in prison for one more night, during which he was beaten and castrated. To prove to him that it's all over, Paul plays the tape of his last interview with Sullivan in which Paul informs Sullivan that his parents are still alive. He adds that Sullivan intends to testify against him. Suddenly, Tanny sneaks up behind Bobby Earl and grabs him. Paul grabs a knife and begins stabbing Bobby Earl, and the three of them fall into the swamp. Paul continues to stab Bobby Earl until an alligator swims up and grabs him. He then helps Tanny out of the swamp and back into the hunting shack. As Paul tends to Tanny's wound, Tanny says, "at least we'll be able to sleep at night." Paul relies, "We'll see." In the final scene, Paul, Laurie, and Katie walk together to their car, and Laurie turns to kiss her husband and daughter.
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