Sędzia

Very good oscillation between a court process and a family drama about establishing a relationship between small town people and city dwellers – portrayed in a graspable and clear enough way, even for the average viewer. You won’t get bored in court and will the family scenes because their timing scenes is great, and you will fully enjoy those few rough peaks of the story. It's a shame about the irrelevant script deviations (the supporting characters), the slightly excessive much sentimentality at the end, and Billy Bob Thornton's unused potential, because his first scene in gives you goosebumps (yes, that scene with the folding glass). Nevertheless, the film achieves the main thing it was supposed to achieve. It's believable, sober, and true to life. Brilliant performances. (21.02.2015)

A very, very long film, completely unnecessarily so. Although at first glance it would seem that there are a lot of characters to tell a story about, the opposite is true and it's still all about the father and son, with the others being more or less just unnecessary or unused ornaments (Billy Bob Thornton in particular). In addition, I saw The Judge in a failed Czech version, with Robert Duvall speaking to me in the completely inappropriate voice of Jiří Štěpnička (who, unlike his fellow "dubbers", at least tried to act). Two and a half. (23.03.2015)

The only thing this film can offer is good acting. Everything else just undermines it. Firstly, it tells a story about judges and for the most part it takes place in the courtroom. Which doesn’t have to be a drawback in itself, had it been well made. There is only one real courtroom moment, but it’s only at the end of the movie – it represents its climax and is also the only good moment this movie has. Secondly, a huge issue with this movie lies in its running time, which is too long given how little happens in there. Already in the first fifteen minutes you’ll understand the situation and how it will develop. Then it all, surprisingly, happens exactly as it would in real life and the audience has no choice but to wait for the ending. The ending is fortunately really good and shows the acting qualities of Robert Downey Jr., Robert Duvall and Billy Bob Thornton. Unfortunately, you have to suffer a hundred minutes of boredom to see this. (08.02.2015)

The courtroom and the incident handled there serve only as a cover for the family drama in which city boy Robert Downey Jr. re-establishes his relationship with his small-town family, led by Robert Duvall. As such, it can’t be compared to courtroom dramas like A Time to Kill or The Rainmaker. The Judge is halfway between them and the sentimental Marvin's Room. Both Roberts play great. Downey’s character seems to be written just for him, and Duvall excels in his role. However, some supporting characters (the sexy daughter played by Vera Farmiga and Dax Shepard’s inexperienced lawyer) slow the film down unnecessarily. They are not relevant enough for the story and merely disrupt the development of the complicated father/son relationship, which is of key importance for the film. On the other hand, the interesting lawyer played by Billy Bob Thornton could have been given more space. The once innovative and majestic music by Thomas Newman (used in Frank Darabont’s and Sam Mendes’s movies) has become a synonym for straightforward sentimental “music for the soul” of the consumer viewer, which is unfortunately what The Judge turns out to be. It’s not a bad movie, but its creators could have aspired to more. (29.10.2014)

The Judge is a quality film that deals mostly with real emotions and is adorned with truly brilliant performances that make it as smooth to watch as the aerial pirouettes of pink elephants after taking LSD, but with the arrival of the closing credits, it leaves us with the feeling that this unique creative line-up deserved something more than this kind of easygoing filmmaking. Downey's scatterbrained egotistical character is irresistible, but unfortunately he represents the only rebellious and prominent element in an otherwise precisely measured process where the fates of the supporting players are irrelevant, while the development of the dramatic relationship between the two central characters sets a cinematic precedent. Duvall gives a terrific performance, of course, but Downey is the one that’s more visible and adds more juice to the story. Everything proceeds and ends as it should, but the forcibly pushed twist with the label "family above all" just doesn’t fit into the overall context full of heartless judgments, remorse and generational disputes. Or maybe it manipulates the witnesses quite blatantly. 70% (20.02.2015)