Clint Eastwood's 'Juror #2' Works, Whether on a Big Screen or a Laptop

In Juror #2, Nicholas Hoult plays Justin Kemp, a journalist called to serve on a jury in a murder trial. In a simple yet far-fetched twist, Kemp realizes — while prosecutor Faith Killebrew (Toni Collette) is presenting the facts — that he is actually responsible for the victim’s death.

James (Gabriel Basso) is accused of getting into a fight with his girlfriend, Kendall (played by Francesca Eastwood, daughter of the film’s director, Clint), following her down a narrow road, assaulting her, and throwing her over a ledge. Kemp, a recovering alcoholic who had been at the same bar that night (though he didn’t drink), realizes the “deer” he thought he hit on his way home was actually Kendall. After consulting his AA sponsor — who also happens to be a lawyer (Kiefer Sutherland) — Kemp realizes he cannot confess to accidentally killing the woman without risking a decades-long prison sentence. Having cleaned up his life and expecting a child with his wife (Zooey Deutch), Kemp decides he can’t go to the police.

Instead, Kemp tries to sway the jury toward a not guilty verdict, a difficult task given that the evidence makes the case seem open-and-shut. Chris Messina plays the overwhelmed defense attorney, while J.K. Simmons portrays a fellow juror who suspects the case isn’t as clear-cut as the prosecution claims.

Much of the buzz around Juror #2 — which premieres on Max today — has centered on Warner Bros.’ decision to release it in only a handful of theaters in October without any significant promotion, despite the fact it could be 94-year-old Clint Eastwood’s final film. And it’s a good one: compelling, efficient, and gripping. However, I’m not convinced that a big marketing push and a wide 3,000-theater release would have served it well. Two decades ago, or even ten years ago, it might have been a modest theatrical hit, but today it’s exactly the kind of low-key legal thriller that excels on streaming platforms.

The strong cast delivers dutiful performances from a smart screenplay by Jonathan Abrams. It’s an engaging, suspenseful thriller that follows Kemp as he balances proving the suspect’s innocence without incriminating himself. Still, not once did I think, “Wow! This would be so much better in a theater.” While I hesitate to commend Warner Bros. Discovery’s decision-making, this film will likely perform exceptionally well on streaming over the holidays, and offering Eastwood a sizable streaming audience doesn’t feel like a disservice.