Issue 30: Juror #2
Currently on serving, shooting, soul, and sleeping.
📝 Reviewing: Juror #2 (2024)
We're only as sick as our secrets.
Having sat in on a murder case, been selected for a jury, and stood as a defendant in court, I find the legal process fascinating. It’s remarkable that we still adhere to the tradition of trial by jury. For anyone summoned for jury duty but yet to experience it, I’m always happy to share my insights, as I believe jury duty is an integral pillar of society that deserves to be taken seriously.
With that, I appreciate courtroom dramas. When done well, they feel like an intense standoff between two teams vying for control. The language, positioning, timing, and strategy employed to sway the verdict make these stories compelling. This creates a lot of potential for Juror #2.
Juror #2 stars Toni Collette, J.K. Simmons, Kiefer Sutherland, and Nicholas Hoult, who plays Justin—a juror who quickly begins to suspect that the defendant might not be guilty. Most notably, the film is directed by Clint Eastwood, who, at 94 years old, continues to work. With over 40 director credits to his name, Juror #2 marks his latest effort.
The film’s hook is that, as the story unfolds, Justin becomes increasingly convinced that he may have accidentally killed the victim. At the same time, he is about to become a father, presenting him (and the audience) with a complex moral dilemma to juggle.
Since a successful courtroom drama hinges heavily on the use of words, the dialogue feels clunky here. There are moments when events conveniently drive the plot rather than unfold realistically. The film also lacks setup and nuance, moving quickly from scene to scene without presenting much creativity or interpretation. It feels like a direct, uninspired transfer of the screenplay to the screen. Additionally, the use of a slight Roshomon-style narrative—revisiting the same flashback repeatedly—becomes tiresome.
While I applaud Clint Eastwood for continuing to direct at his age, the film’s shortcomings are difficult to dismiss. Its plain presentation comes off as old-fashioned, dated, and Lifetime-like. Juror #2 is available to stream on Max.
📺 Watching: Photographer (2024)
Make them curious, make them care, make them want to learn.
From Academy Award-winning filmmakers and partners E. Chai Vasarhelyi and Jimmy Chin, Photographer focuses on visual storytellers to see what makes them click. Each hour-long episode follows the life of an iconic photographer, tracing their journey from career beginnings to present-day projects.
In a digital world where everyone carries a camera in their pocket and nearly every moment is documented, it’s easy to lose sight of the power of photography. But photographs not only help us learn they also allow us to remember. Learning about the people behind the lens and how they inspire others reminded me that photography remains both an art form and an educational tool.
I particularly enjoyed episode two which features Anand Varma as he attempts to capture the transformation of an egg into a baby chick and the techniques he had to uncover to make it all possible. Photographer is available to stream on Disney+.
🎧 Listening To: Dijon
But there you go again putting on your own rodeo again
There you push me out just to flash that smile and lasso me in
Dijon is a relatively new discovery for me. Like Lizzy McAlpine’s Five Seconds Flat, the YouTube algorithm introduced me to his short film, Absolutely. The film initially feels like a jam session unfolding during the after-hours of a house party. But as the songs progress, the camera gradually pulls back, revealing a soundstage. It’s as if he’s inviting the audience into a “real” space designed to reflect the raw authenticity of his sound—or perhaps to recreate the moments when these songs first came to life.
I have a deep appreciation for artists who transform their albums into visual experiences. As someone who listens to albums from start to finish, I admire the intentionality and artistry it takes to convert a cohesive auditory journey into a compelling visual narrative. For a live rendition of “Many Times,” you can watch it on YouTube. Or, for a more polished version, the track is available to stream on Spotify.
📣 Recommending: Sleep No More
We can never go back to Manderley again…
Sleep No More is an immersive theatrical experience set in the McKittrick Hotel in New York City. It’s a film-noir-inspired adaptation of Shakespeare’s Macbeth, and the show's final performance will take place on January 5, 2025, after an impressive 14-year run. Though it has been extended many times, this run marks the end of its journey. And I was fortunate enough to snag a ticket during a recent visit to New York.
Without spoilers, it’s unlike anything I’ve ever seen. The audience is given no program, is required to wear a mask for the entire three-hour duration of the show, and there is no speaking from either the actors or the audience. The production features approximately 25 actors, each an option for the audience to follow throughout the hour-long story. You’re encouraged to trust your intuition and choose your own adventure, meaning even after multiple visits, one might not have seen a fraction of what the show has to offer.
It’s disorienting, overwhelming, voyeuristic, and erotic. The 100,000-square-foot, five-story set was stunning. The design of the 100 rooms was mesmerizing. And the acrobatic choreography was impressive. I wish the show could be translated into film so more people could experience this unique feat. Sleep No More is playing in New York City through January 5th.
Thanks for being here.
— Justin