In support, Nicky Katt ("Boiler Room," "Grindhouse") turns in another of his reliably enjoyable character bits as Mercer's blackly droll partner Detective Vitale. He enjoys nice chemistry with the more fiery Foster. Howard, with his smoke and syrup voice in that handsome, gentlemanly package, is the essence of calm amidst chaos, firm and clear headed.
She does the unthinkable, giving listeners dead air as she stumbles getting her bearings, but once she begins to speak, her intellectual clarity and poetic way of expressing ideas is riveting - this is the scene that could garner Foster an Oscar nomination. Foster knocks it out of the park when, against her boss's (Mary Steenburgen, "Marilyn Hotchkiss Ballroom Dancing & Charm School," "The Dead Girl") advice, she goes back on the air. The petite Foster has always been more than believable behind the muzzle of a gun and here, unlike her Clarice Starling for example, she exudes confidence with the weapon quickly even as she alternately exudes emotional fragility and fear. The two form a bond, her professing admiration for his utter belief in the law, while he investigates her crimes and slowly realizes his new friend is responsible. Bain weakly suggests an interview to cover her presence and is backed into a corner when Mercer accepts. Her next victims, though, are more morally ambiguous and when she returns to the scene of the crime with recording in hand, Mercer recognizes her. After Erica has recovered, she is so fearful of leaving her apartment she procures an illegal gun and no sooner does she have one that she comes face to face with a killer in a convenience store (indie director Larry Fessenden, having the distinction of being aced by Jodie and bring out his own terrific film, "The Last Winter," in the same week) who she shoots in self defense. The brutally beaten Erica is observed in the hospital by one of her listeners, Detective Mercer (Terrence Howard, "Hustle & Flow"), there to protect a young girl whose stepfather may have caused the death of her mother. Taylor and Cynthia Mort gives its lead characters conflicted motivations and behavior reversals which sink believability. But the screenplay by Roderick and Bruck A. And both films are products of trouble times of terrorism that make ordinary citizens feel helpless. And Foster gives a searing performance here - her best in years - but one wonders what drew her to this feminist take on 1974's "Death Wish." Sure her female character doesn't revel in her vigilantism the way Charles Bronson did - she struggles with it.
#Jody foster the brave one movie#
Even Jodie Foster has commented upon how much she hates the title of her new movie and it is indeed a misnomer as Erica is fearful throughout most of the film.
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