Keser Turns And Handle Turns..
After watching Reckoning, one of the many questions that comes to mind stands out among the others: Why did the producers hand over the cast that they brought together Al Pacino and Anthony Hopkins to Shintaro Shimosawa?
Chicago-born Shimosawa has no other notable qualifications other than being the screenwriter of several middling television series and the Grudge series, the product of the Japanese horror-thriller windswept, that stretched back to Hollywood in the early 2000s. In his first behind-the-scenes experience, the young director messes things up, to quote the original title of the film.
Keser Turns
Reckoning takes on a bad version of the detective/thriller stories that were consumed a lot in the 80s and 90s and ended in disappointment by ambitious men. Attracting attention with his successive lawsuits, young lawyer Ben (Josh Duhamel) accesses confidential documents through an old acquaintance. Ben makes a deal with Charles (Al Pacino), the boss of the law firm he works for, thanks to documents that show Arthur (Anthony Hopkins), the owner of a famous pharmaceutical company, was involved in the experiments. If Ben earns a 9-digit compensation income from the lawsuit, he will take an important step towards becoming a partner in the company. The young lawyer will soon realize that nothing is as it seems.
It’s interesting how things go wrong in Reckoning. Let’s not do justice to the poorly written script, from the character design to its intrigue, from the ‘surprise’ to the blindfolded ‘surprise’ to the knots! The screenplay, whose story and plot is heavily ‘inspired’ from Alan J. Pakula’s Under Suspicion (1990), is falling apart. But the director’s technical moves, unaware of everything, wandering in another world, take the event to a pathetic dimension. Shimosawa plays with the camera in almost every scene. The camera movements, which do not contribute to the story and are irrelevant to the purpose of the scene, become ridiculous after a while. This use of the camera disconnects the audience from the already difficult story. Who knows, as Shimosawa was aware of the inadequacy of the script.
Handle Turns
When it comes to the end, with the cooperation of the script and the director, the audience is so far away from the film that one of the important breaking points of the story is ‘Who is the murderer?’ Even the question is forgotten. The film, which gives an answer to this question, which is not surprising, ends without leaving any impression.
