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But, as Hailey tells him: “America is at war and you are on the other side.” He has chosen him as his lawyer precisely because he is a white man who thinks as a white jury thinks. Matthew McConaughey plays the liberal lawyer who takes Hailey’s side. Hailey guns down the culprits while they are on their way to a hearing, spraying them with bullets, and in doing so gravely injures a nearby white deputy played by Chris Cooper, who sympathises with him. He plays Carl Lee Hailey, the regular guy whose 10-year-old daughter is raped by two racist thugs. A Time to Kill (1996)Ī grandstanding performance here from Jackson in this John Grisham legal thriller set in the US south. Jackson makes a very good ordinary guy turned action hero. Together, they are drawn into Simon’s evil cat-and-mouse game.
Jackson is Zeus, the tough store-owner who saves McClane from the inevitable angry mob and senses that that this shirtless man is on the side of the angels. Crazy-evil genius Simon places bombs all over Manhattan and forces Willis to stand in the middle of Harlem wearing a racist placard or else he will detonate one. Jeremy Irons is Simon, the brother of the German played by Alan Rickman whom Willis was up against in the first film. The third Die Hard movie featuring the tough cop John McClane, this paired Jackson with Bruce Willis for a scary confrontation with another creepy German villain played by a Brit thesp. No one else could have sold us this bizarre premise. Or is it his own self-respect he is trying to reclaim? This is part southern gothic, part Euro arthouse and all Jackson.
Lazarus takes her home and chains her to a radiator, while he tells her about his life and plays her some music – all avowedly to teach her some self-respect. One day, he finds a beautiful young woman called Rae, played by Christina Ricci, who has been beaten and left unconscious by the road by local folk, apparently as a punishment for her promiscuity. He is a farmer and retired blues musician significantly named Lazarus, who is dying of loneliness. One of Jackson’s strangest and yet somehow most elegant performances, treasured by his fans.
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Jackson gives an object lesson in how to make the most of a small role here, he is one of cinema’s most dedicated smokers, never seen without a cigarette.īlues power … Jackson with Christina Ricci in the curious Black Snake Moan. Tragically, Ray is to meet a horrible off-camera demise, gobbled by a velociraptor, leaving only his arm. His famous line is uttered when he has to shut everything down and start it up again when a hurricane strikes, dinosaurs are at large and the park’s systems have been sabotaged by Wayne Knight’s slobbish and corrupt programmer, Dennis Nedry. “Hold on to your butts!” Jackson has another celebrated cameo as Ray Arnold, the droll engineer in charge of Jurassic Park’s automated rides. With the sickening gunshot, Jackson lurches forward, bounces off the bed and hits the floor. So Stacks is roused from a lie-in at 11.30am by Joe Pesci’s psychopathic Tommy DeVito Stacks stumbles apologetically to the door in his underwear and then – incautiously – turns his back on Tommy as he bends to put his clothes on. He neglected to do so, rendering himself vulnerable to arrest and likely to squeal. For the Lufthansa robbery run by Henry (Ray Liotta) and Jimmy the Gent (Robert De Niro), Stacks was entrusted with getting rid of the van. He plays minor hoodlum “Stacks” Edwards, who had, as they say, one job. Jackson is often regarded as quite the snappy dresser, but sadly there was nothing snappy about the way he dressed for his big cameo in Martin Scorsese’s celebrated gangster film – in loose vest and underpants. That determination takes the movie to melodramatic places, but Jackson’s performance is muscular and forthright. There, his personality appears changed: he is more grimly determined to survive.
Jackson plays Trevor, a dedicated teacher who works in a tough New York school, survives a horrendous stabbing by a pupil and winds up as a substitute teacher in Los Angeles.
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So it proves in this social-issue thriller named after the California police code for homicide. So often, Jackson’s roles are flavoured by violence or cynicism or black comedy, but there is a strong streak of idealism in his performing identity.
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