The Devil-s Advocate (Easy — 2024)

Rating: ★★★☆☆ (3/4)

Let us address the cross in the room. Keanu Reeves is miscast. Not because he is bad—he is actually quite effective as the naif slowly growing horns—but because the film asks him to do something his instrument cannot: explode. When Kevin finally confronts his own monstrousness, we need a volcanic rage, a soul torn between salvation and power. What we get is Keanu furrowing his brow and raising his voice to a polite 7. He is the straight man in a two-ring circus, and the circus eats him alive. The Devil-s Advocate

And then the film adds a final, infuriating wink: Pacino appears on a reporter’s television, revealing that he is still manipulating events. The implication? Evil is eternal. It is clever. It is also a coward’s way out. After two and a half hours of theological thunder, the movie retreats into a “just kidding” loop. It wants to have its damnation and eat it, too. Rating: ★★★☆☆ (3/4) Let us address the cross

The premise is delicious. Kevin Lomax (Keanu Reeves), a small-time Florida defense attorney with a perfect record, is recruited by the enigmatic John Milton (Pacino) to a white-shoe New York firm. The firm is a cathedral of marble, ego, and billable hours. Kevin wins cases not through evidence, but through charisma and the manipulation of reasonable doubt—a skill Milton adores. Soon, Kevin is defending a real estate mogul (a wonderfully reptilian Craig T. Nelson) accused of a brutal murder. The catch? Kevin’s wife, Mary Ann (Charlize Theron, heartbreaking), is losing her mind, tormented by visions of demonic violation. When Kevin finally confronts his own monstrousness, we

There is a moment, about two-thirds of the way through Taylor Hackford’s The Devil’s Advocate , where Al Pacino—corporate Satan, Manhattan real-estate mogul, and part-time father figure—turns to the camera and delivers a monologue about God’s greatest mistake: giving humanity free will. It is a symphony of ham, spit, and terrifying sincerity. For five minutes, the film achieves a kind of operatic madness. Then it remembers it has a plot to resolve, and the spell shatters.

The Devil’s Advocate is a movie of immense, almost arrogant potential. It wants to be Wall Street meets The Exorcist , a legal thriller soaked in supernatural dread and moral philosophy. It succeeds as a guilty pleasure. It fails as the masterpiece it so clearly aches to be.