Directed by: Gregory Hoblit
Starring: Anthony Hopkins, Ryan Gosling
Rating: R

Anthony Hopkins and Ryan Gosling in Fracture. (Courtesy photo)

The mystery at the center of the new courtroom thriller Fracture would make for an above-average episode of Law & Order, but amounts to a somewhat thin feature film. However, Fracture stars Anthony Hopkins and Ryan Gosling. The two may be 42 years apart, but both are masterful at turning a little into a lot. These two don’t complement each other on screen so much as uncomfortably coexist. Both coax the story into moving at their speed, on their terms, and at constant odds with the other. So even though the actual plot is only somewhat enthralling, the verbal tussling between Hopkins and Gosling is mesmerizing. Fracture is a surprisingly low-key thriller directed with the grim proficiency we’ve come to expect from Gregory Hoblit (Primal Fear, Frequency). In spite of an impressive supporting cast, it’s a two-man show. And when Gosling is stuck with other actors, we’re just biding our time until Hopkins shows up again and the sparring can resume. Brilliant aeronautics engineer Ted Crawford (Hopkins) coldly shoots his wife (Embeth Davidtz), then confesses to police hostage negotiator Rob Nunally (Billy Burke). It looks like an awfully easy case to Willy Beachum (Gosling), the arrogant young Los Angeles assistant district attorney assigned to prosecute. Willy already has one foot out the door—and in through the door of an auspicious corporate law firm. He has even started romancing his superior (Rosamund Pike). But the easy little case turns funky when Crawford starts playing games. First, he represents himself. Then he antics around the courtroom like a precocious schoolboy. Finally he drops a bomb: his wife was having an affair with officer Nunally. Crawford only confessed out of fear. And with one swift move, the rug under Willy Beachum is pulled away.

Fracture is a few clever twists shy of a full set. We have too much time to ponder the case, too much exposure to the dubious law and order at work here. Crime thrillers are always alluring to audiences, but pulling off a good twist is a rare feat. In fact, the big twist is probably more important than the rest of the movie’s qualities combined. Hoblit’s own Primal Fear is a good example of a dreary little movie that turned into a huge hit thanks to a big surprise (and the out-of-nowhere emergence of Edward Norton). For my money Fracture is a better film with a lesser, more acceptable twist. Daniel Pyne, who co-wrote the screenplay with Glenn Gers, has some strong scripts to his credit: The Manchurian Candidate, Any Given Sunday, Doc Hollywood. Each of those films manages to find unexpected details and human moments. If they ever fit them into the Fracture screenplay, the moments were removed soon after. Characters behave only within their roles. Even the film’s other two great actors, Cliff Curtis and David Strathairn, are helpless in their roles as gruff police detective and gruffer DA.

We all know about old Sir Anthony. Even when he phones it in, he does it with gusto. This latest psychotic is a piece of cake for Hopkins, but he clearly has a great time playing him. For those seeing Gosling for the first time, prepare for a revelation. Gosling is perfectly named: he initially comes off as sweet and naïve as a baby goose. But underneath is a very wily coyote. Gosling never treats a moment the way you anticipate he might. He smiles when he should grimace. He bores when he should blush. Gosling was most deserving of the Oscar nomination he received for his work as a drug-addicted high school teacher in Half Nelson. He is a rare talent and will have a lot more nominations and awards before he’s through.

David Strathairn (Good Night, and Good Luck) does his best as the DA who clearly cares for his young upstart as much as he is exasperated by him. Strathairn is saddled with some of the movie’s worst scenes—the kind that look like they were shot three months after the rest of the film. The consummate professional that he is, he almost makes them work.

Poor Rosamund Pike (Die Another Day, Pride and Prejudice) wants to be as quirky and mannered as her co-stars, but her role as the cool corporate love interest won’t allow it. Pike may turn out to be a very good actress, but so far she’s only shown real skill at getting skinnier.

A lot of appealing movies are out right now—at least to me. I’m curious about Hot Fuzz, The Hoax, Year of the Dog, The Lives of Others, Black Book, even Disturbia. I chose Fracture because, at this point, Ryan Gosling is worth seeing in just about anything. Watching him enliven an otherwise standard crime thriller is enough for me. Adding in Anthony Hopkins in his Hannibal Lecter mode is just a bonus.

Alex Manugian lives in Sherman Oaks, California, and works for the Cartoon Network. He grew up in Groton and has reviewed movies for Harvard residents for many years.