Well, I loved it. But I felt it could have had more laughs. Take for instance the improvisations of the substitute lawyer, they were all disappointed. The matter of missing the session by mixed horns wasn't exploited well. Or the character of the judge; all out of use. In brief, every time this movie has the opportunity to make fun, it retracts. Is it laziness? Average sense of comedy? Whatever the reason is, while having the irony, (Trial and Error) doesn't use it well, or doesn't use it.
Then slight bugging matters: the strange biker had been pictured first as (Jeff Daniels)'s attention line and fascinating fantasy; that was confusing a bit, especially when we discover lately that she'll be his friend's girl. Then, how come (Charlize Theron) forgave (Daniels) that simple, I still can't explain the big hug near the end, putting in mind the hurting slap that she got hours ago by his arrogant fiancée?! And lastly, the movie left us, incredibly happy, while its 2 leading men could, or would, serve years in prison for what they already have done. Both of them are going to be exposed easily. Not to mention what job exactly (Daniels) would have? I mean when a movie like this didn't answer questions like these, even by swift answers, then whether it was preparing for a sequel, or something was hasty about its ending.
On the contrary, it has so wonderful meaning about stopping the lying, in a way most of the similar movies didn't have. The moment of the concluding pleading is heartwarming and overwhelming. It sums up the movie's core perfectly. Sad that with stronger comedy, this could have been evenly perfect movie itself.
I loved the scene of (Daniels) talking about the early-brilliant's tragedy, the one who lives a chain reaction of being superior, then less and less as time goes by. It's the scary opposite relationship between intelligence and freedom. More intelligence equals less freedom, hence less happiness. This movie shows it in impressive simplicity, running as a play on the main theme as well, whereas the character used to lie, yet on himself, as if he was happy while he wasn't.
(Daniels) is a fair actor, but not a great comedian, besides he lacks the charisma. (Michael Richards) is a nice talent. Look at his super slapstick comedy in his audition scene (I couldn't understand what these examiners were uneasy about?!). Or to the way he performed his serious scenes. Accordingly, I don't know why he couldn't make a cinematic career away from his trademark Cosmo Kramer of "Seinfeld"?! What I do know is that he didn't have a proper chance to blossom and flourish. (Rip Torn) and (Charlize Theron), with more capturing presence and talent, surpassed (Daniels) and (Richards). (Theron) in specific acted so naturally despite her short experience back then.
It's smooth and meaningful afternoon movie. I began to feel that this term, afternoon movie, got a lot to do with the light movies. As if the more complicated or satisfied ones are fitter for the night. As a comedy, it could have been better if only it wasn't full of too many anti-climaxes, where you're about to laugh, then you're not. It's where I desired a remake for the very movie I was watching!
Then slight bugging matters: the strange biker had been pictured first as (Jeff Daniels)'s attention line and fascinating fantasy; that was confusing a bit, especially when we discover lately that she'll be his friend's girl. Then, how come (Charlize Theron) forgave (Daniels) that simple, I still can't explain the big hug near the end, putting in mind the hurting slap that she got hours ago by his arrogant fiancée?! And lastly, the movie left us, incredibly happy, while its 2 leading men could, or would, serve years in prison for what they already have done. Both of them are going to be exposed easily. Not to mention what job exactly (Daniels) would have? I mean when a movie like this didn't answer questions like these, even by swift answers, then whether it was preparing for a sequel, or something was hasty about its ending.
On the contrary, it has so wonderful meaning about stopping the lying, in a way most of the similar movies didn't have. The moment of the concluding pleading is heartwarming and overwhelming. It sums up the movie's core perfectly. Sad that with stronger comedy, this could have been evenly perfect movie itself.
I loved the scene of (Daniels) talking about the early-brilliant's tragedy, the one who lives a chain reaction of being superior, then less and less as time goes by. It's the scary opposite relationship between intelligence and freedom. More intelligence equals less freedom, hence less happiness. This movie shows it in impressive simplicity, running as a play on the main theme as well, whereas the character used to lie, yet on himself, as if he was happy while he wasn't.
(Daniels) is a fair actor, but not a great comedian, besides he lacks the charisma. (Michael Richards) is a nice talent. Look at his super slapstick comedy in his audition scene (I couldn't understand what these examiners were uneasy about?!). Or to the way he performed his serious scenes. Accordingly, I don't know why he couldn't make a cinematic career away from his trademark Cosmo Kramer of "Seinfeld"?! What I do know is that he didn't have a proper chance to blossom and flourish. (Rip Torn) and (Charlize Theron), with more capturing presence and talent, surpassed (Daniels) and (Richards). (Theron) in specific acted so naturally despite her short experience back then.
It's smooth and meaningful afternoon movie. I began to feel that this term, afternoon movie, got a lot to do with the light movies. As if the more complicated or satisfied ones are fitter for the night. As a comedy, it could have been better if only it wasn't full of too many anti-climaxes, where you're about to laugh, then you're not. It's where I desired a remake for the very movie I was watching!