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“A Time to Kill,” based on the first novel by John Grisham , is a skillfully constructed morality play that pushes all the right buttons and arrives at all the right conclusions. It begins with the brutal rape of a 10-year-old black girl by two rednecks in a pickup truck. The girl's father kills the rapists in cold blood on their way to a court hearing and cripples a deputy in the process. The local white liberal lawyer agrees to defend him. The Klan plots to gain revenge. Good of course triumphs--but we'll get back to that in a moment.

I was absorbed by “A Time to Kill,” and found the performances strong and convincing, especially the work by Samuel L. Jackson as Carl Lee Hailey, the avenging father, and Matthew McConaughey as Jake Brigance, the lawyer. This is the best of the film versions of Grisham novels, I think, and it has been directed with skill by Joel Schumacher .

But as I watched the film, other thoughts intruded. Grisham recently attacked director Oliver Stone , alleging that Stone's “ Natural Born Killers ” inspired drugged-out creeps to murder a friend of Grisham's. Stone should be sued by the victim's family, Grisham said, offering the theory that “NBK” was to blame under product-liability laws.

Well, Grisham is a lawyer, and lawyers exist to file suits. But one might reasonably ask whether the creeps would have committed the murder without taking the drugs. One might also ask if Grisham forfeits his right to moral superiority by including a subplot in “A Time to Kill” that gives the Ku Klux Klan prominence and a certain degenerate glamor. Yes, Klan members are the villains. But to a twisted mind, their secret meetings and corn-pone rituals might be appealing.

However, if you leave out everything that might inspire a nut, you don't have a movie left--or a free society, either. Artists cannot hold themselves hostage to the possibility that defectives might misuse their work. Grisham should simply be honest enough to recognize that he does the same things he says Stone shouldn't do.

As a story, “A Time to Kill” works effectively. (I will have to discuss certain plot points, so be warned.) Everyone in the county knows Carl Lee Hailey killed the two men who raped his daughter, and many of them share his feelings. (Even the crippled deputy blurts out, under oath, that he would have done the same thing.) But can a black man get a fair trial after murdering two white men, even in the “new” South? The movie milks this question for all it's worth, which isn't much, unless the average audience thinks Hollywood will allow Klan thugs to prevail over the hero. “You're my secret weapon,” the black man tells his white lawyer. “You see me the way the jury will see me. What would it take, if you were on the jury, to set me free?” As Brigance prepares his case, crosses are burned on lawns, anonymous phone calls are made, and his wife ( Ashley Judd ) moves their family to safety.

That's well-timed to clear space for another character, the young lawyer Ellen Roark ( Sandra Bullock ), a rich Northerner who studied law at Ole Miss and wants to be Brigance's unpaid aide. He discourages her, but she turns up with useful leads, and he needs someone to help him counter the expert local district attorney ( Kevin Spacey ).

The movie climaxes with the obligatory courtroom scenes. Brigance's summation is well-delivered by McConaughey, but his tactics left me feeling uneasy. He describes the sadistic acts against Hailey's daughter in almost pornographic detail, then asks the jury, “Now imagine she's white.” That's an odd statement, implying that the white jury wouldn't be offended by the crimes if the victim was black.

Yet the movie itself has trouble imagining its black characters. The subplots involve mostly Brigance's white friends and associates: his alcoholic old mentor ( Donald Sutherland ), his alcoholic young mentor ( Oliver Platt ), his alcoholic expert witness (M. Emmet Walsh), his secretary ( Brenda Fricker ), his wife (Judd), and his unpaid assistant (Bullock). Another strand involves the plotting of the Klan, led by the vicious Cobb ( Kiefer Sutherland ). There are a few scenes involving the NAACP's legal defense people, who persuade the local pastor to hold a fund-raiser for Hailey's legal defense--but insist the money be used for a black lawyer. Hailey turns them down, in an awkward sequence intended, I think, to equate the NAACP lawyers with figures like the Rev. Al Sharpton.

One wonders why more screen time wasn't found for black characters like Hailey's wife. Maybe the answer is that the movie is interested in the white characters as people and the black characters (apart from Carl Lee Hailey) as atmosphere. My advice to the filmmakers about the black people in town: Try imagining they're white.

The ending left me a little confused. (Again, be warned I'll discuss plot points.) A child bursts from the courtroom and tells the waiting crowd that Hailey is “innocent.” A cheer goes up. There is joy and reconciliation. But hold on. Hailey's own defense admits he killed those men. The jury probably found him not guilty by reason of temporary insanity. But “innocent?” Maybe the device of the shouting child was used to avoid such technicalities, and hasten the happy ending.

This review doesn't sound much like praise. Yet I recommend the film. What we have here is an interesting example of the way the movies work. “A Time to Kill” raises a lot of questions, but they don't occur while you're watching the film. The acting is so persuasive and the direction is so fluid that the material seems convincing while it's happening. I was moved by McConaughey's speech to the jury, and even more moved by an earlier speech by Jackson to McConaughey. I cared about the characters. And then I walked out, and got to thinking about the movie's choices and buried strategies. And I read about Grisham's attack on Stone. And I thought, let he who is without sin ...

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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A Time To Kill (1996)

Rated R For A Rape Scene and Occasional Strong Language

145 minutes

Matthew McConaughey as Jake Brigance

Samuel L. Jackson as Carl Lee Hailey

Sandra Bullock as Ellen Roark

Kevin Spacey as Rufus Buckley

Patrick McGoohan as Judge Noose

Kiefer Sutherland as Freddie Cobb

Donald Sutherland as Lucien Wilbanks

Directed by

• Joel Schumacher

Produced by

• Arnon Milchan
• Michael Nathanson
• John Grisham
• Akiva Goldsman

Based On The Novel by

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A time to kill, common sense media reviewers.

Legal drama candidly tackles race relations in America.

A Lot or a Little?

What you will—and won't—find in this movie.

Promotes the idea that people of different ethnici

Jake, a white man who's supposed to be "one of the

The opening segment shows a rape scene from the ey

Sexual innuendo.

Language includes many uses of the "N" word and a

Many adults smoke and drink at bars. Two character

Parents need to know that A Time to Kill is a drama set in Mississippi about a white lawyer (Matthew McConaughey) who defends a black man (Samuel L. Jackson) accused of killing the two white men who raped his 10-year-old daughter. The chain of events following the death of these men creates an atmosphere of…

Positive Messages

Promotes the idea that people of different ethnicities can interact peacefully, even in the South. Some of the film’s characters show that practicing integrity and judging someone by their character, rather than skin color, can have a lasting effect on humanity. Highlights the notion that everyone deserves social justice, no matter their social class, history, or ethnic identity.

Positive Role Models

Jake, a white man who's supposed to be "one of the bad guys," helps a disenfranchised black man receive a fair trial in the South. Their relationship is aspirational and shows that human instinct, compassion, and empathy can overcome racial prejudice. Liberal lawyers and a former civil rights activist show that it's possible to defend someone fairly without letting racism block their judgment. A man whose leg has to get amputated as the result of a stray bullet forgives; a man who lost his home and almost lost his wife doesn't give up on what he believes to be right. Many characters within the film personify integrity, perseverance, and bravery in the face of challenging times.

Violence & Scariness

The opening segment shows a rape scene from the eyes of the 10-year-old victim. Two men tie her up, one gets undressed, and they thrust on top of her. Fist fights and brawls. Scenes show a cross burning and someone torching a home. Gun violence, murders, bloodshed, and race-induced tension and violence.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Language includes many uses of the "N" word and a few uses of "s--t," plus "damn," "crap," "ass," "piss," and "God" (as an exclamation).

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

Many adults smoke and drink at bars. Two characters are alcoholics who drink throughout the film. Characters drink and drive.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that A Time to Kill is a drama set in Mississippi about a white lawyer ( Matthew McConaughey ) who defends a black man ( Samuel L. Jackson ) accused of killing the two white men who raped his 10-year-old daughter. The chain of events following the death of these men creates an atmosphere of tension within the small Southern town, and revenge is sought by the Ku Klux Klan. Expect to see racial violence (including a cross burning) and the use of guns/weapons; characters are killed, and the rape scene is very upsetting. Characters swear ("s--t" and more) and use racially charged slurs (the "N" word); they also drink and smoke. The movie is based on the popular novel by John Grisham and has themes of integrity and perseverance. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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• Parents say (1)
• Kids say (2)

Based on 1 parent review

The best and most accurate review

What's the story.

A TIME TO KILL takes a candid look at America's judicial system while giving viewers a glimpse of the psychological and physical trauma and consequences that come along with racial injustice, systemic racism, and oppression. In a small Mississippi town, bold young lawyer Jake Brigance ( Matthew McConaughey ) and his assistant, Ellen Roark ( Sandra Bullock ), defend Carl Lee Hailey ( Samuel L. Jackson ), a poor black man accused of killing the two white men who raped his young daughter. This incites fury, and the Ku Klux Klan seeks revenge. The movie is based on the best-selling novel by John Grisham.

Is It Any Good?

This film candidly depicts the residual effect of racism on the next generation. Viewers get the opportunity to see things from a different perspective and consider what life is like for both a white man and a black man in the South. While A Time to Kill fairly portrays unjust crimes committed against Carl Lee and his family, the film also allows viewers to see the intense experiences of a white man and his legal team who choose to defend a black man in the South during a pivotal time in America's history. A Time To Kill doesn't shy away from revealing topics, attitudes, and the realities of many who lived in the South during this time period.

Talk to Your Kids About ...

Families can talk about the subject matter of A Time to Kill . Has the social climate in America changed since this film came out in 1996? Has racial tension in America lessened or increased? Why do you say that?

Do you think that black men in America have the right to a fair trial? Why or why not?

Did you notice any stereotyping in this movie? What about in other movies that deal with race? What's the danger of stereotypes?

How do the characters and story show the value of perseverance and integrity ? Why are those important character strengths ?

Why do you think that Jake told the jury, in reference to 10-year-old Tonya, during his final closing statement to "imagine she is white"?

Movie Details

• In theaters : July 24, 1996
• On DVD or streaming : April 30, 1998
• Cast : Matthew McConaughey , Sandra Bullock , Samuel L. Jackson
• Director : Joel Shumacher
• Inclusion Information : Female actors, Black actors
• Studio : Warner Bros.
• Genre : Drama
• Topics : Book Characters
• Character Strengths : Integrity , Perseverance
• Run time : 149 minutes
• MPAA rating : R
• MPAA explanation : violence and some graphic language
• Last updated : February 23, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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Our editors recommend.

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Courtroom dramas, great movies with black characters, related topics.

• Perseverance
• Book Characters

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A Time To Kill Review

13 Sep 1996

149 minutes

A Time To Kill

So enamoured was he with Joel Schumacher's solid if unremarkable handling of The Client, that one-time legal eagle turned author-of-the-moment John Grisham handed the director the reins to his precious debut novel. By far his best work, A Time To Kill carried semi-autobiographical overtones that the scribe (and, now indeed, producer) had, fearing the worst, been unwilling to fritter off onto the Hollywood production line.

It proved less a gift than a hot potato: a moral tightrope of a subject, casting antipathy between director and author (over who would play the lead) and a shoot in the inflammatory and sweltering atmosphere of a Mississippi summer haunted by the ghosts of movies past - To Kill A Mockingbird casts a long shadow. Yet bad karma has led to enriched moviegoing. This is easily the most thought-provoking and stimulating of the Grishamised movies.

Unknown beforehand but now a superstar in the offing, McConaughey is Jake Brigance, the local boy lawyer embroiled in a case that is more akin to a legal firebomb. After two redneck bullyboys brutally rape his black eight-year-old daughter and then slip through a hole in the law, impassioned father Jackson dispenses home-made justice by a lethal injection. Of lead. It is, of course, Brigance who elects to defend his vigilante actions and blow issues of justice wide open. Enter the Ku Klux Klan, led by the sneering lustre of Kiefer Sutherland, to stir up the locals, propping up the thriller elements with top quality nastiness. And enter hotshot law student Sandra Bullock to boil up some serious sexual chemistry and add right-on viewpoints.

The rest of the rangy cast reads like a talent devotee wish-list: Kevin Spacey smarming away as the egotistical prosecutor; Ashley Judd as the fretting wife; Donald Sutherland the drunken old-timer with sly advice; and Oliver Platt providing comic asides as a cynicism-sodden buddy lawyer. Even down on the third echelon the players are still hot: M. Emmet Walsh, Charles Dutton, Brenda Fricker.

Once it is assured McConaughey can do the business, whipping up sex appeal and camera hoggage like a thoroughbred, it is hard for Schumacher to mess up. An actual niggle is, ironically, talent overload: there are hints of too many cooks with scant opportunity to savour the likes of Sutherland, Platt and Spacey, even top billed Bullock is only a support player. With all the acting bases covered - jail-bound Jackson, as taut as a piano string, is fantastic - and the stormy southern location squirming with sweaty confrontations, lynchings and racial tension, there comes the reliable bluster of the movie courtroom complete with stir-'em-up staples - rent-a-mob riots, objections, last ditch evidence, wholesale implausibilites and Patrick McGoohan's sneery judge.

It's all very Grisham - swish courtroom antics by blue-eyed golden boy win day - but one balanced precariously on an ethical quagmire. What would you do if it were your daughter? Can vigilantism ever be acceptable? Schumacher is never quite smart enough to keep the debate neutral, and the unrestrained hero worship at the close leaves a nasty taste. But a rare thing is a courtroom thriller daring to venture into the grey areas of the law, and A Time To Kill is a prime slice of legal Americana.

A Time to Kill

Although it has its share of implausibilities, "A Time To Kill" is generally the most satisfying of the John Grisham screen adaptations to date. An absorbing tale of racial tensions as seen through the prism of a highly controversial murder case, this sweaty Southern courtroom drama is well served by a stellar cast that, along with the notably tony production values, puts a classy stamp on the rather contrived melodramatic proceedings.

By Todd McCarthy

Todd McCarthy

• Remember Me 14 years ago
• Shutter Island 14 years ago
• Green Zone 14 years ago

Although it has its share of implausibilities, “ A Time To Kill ” is generally the most satisfying of the John Grisham screen adaptations to date. An absorbing tale of racial tensions as seen through the prism of a highly controversial murder case, this sweaty Southern courtroom drama is well served by a stellar cast that, along with the notably tony production values, puts a classy stamp on the rather contrived melodramatic proceedings. As all the previous Grisham entries have grossed roughly $ 100 million or better, it would be surprising if Warner Bros. couldn’t propel this one to the same upscale commercial neighborhood.

With its “ To Kill a Mockingbird ” setup of an earnest white lawyer defending a black man of a crime that’s a particular affront to rednecks, pic stokes the political and emotional coals in ways calculated to appeal to middle-of-the-road and liberal humanist whites as well as to blacks, whichcould translate into sizable crossover business.

Popular on Variety

Just as much of a synthetic fabrication as other Grisham yarns, this one nonetheless emerges as more substantial due to the social fabric and unavoidably contentious legal issues at its core, as well as its colorful cast of characters.

Blood-boiling opening has two bad ol’ boys grabbing a 10-year-old black girl off a country road, tying her up, and beating and raping her within an inch of her life. The white trash perpetrators are easily apprehended, but the girl’s infuriated father, Carl Lee Hailey (Samuel L. Jackson), can’t restrain himself and guns down the goons as they are being led through the county courthouse, blowing away the knee of an innocent deputy (Chris Cooper) in the process.

To whom should Hailey turn for his defense but to another of Grisham’s patented down-and-out Southern lawyers, in this case young, good-looking Jake Brigance (Matthew McConaughey), who previously got Hailey’s brother off on a charge. With little going for him other than the moral support of his disbarred and drunken former law professor (Donald Sutherland), secretary (Brenda Fricker) and lawyer buddy (Oliver Platt), Brigance takes on the murder case and begins to get a taste of what he’s up against when he’s threatened with dire personal consequences if his defense is successful.

Indeed, the case inspires a revival of the largely dormant Ku Klux Klan in Canton, Miss., a movement led by the brother (Kiefer Sutherland) of one of the murdered men. As the trial approaches, the Klan becomes increasingly brazen, burning a cross in front of Brigance’s house and generally making modern Canton look like the South in pre-civil rights days.

Arriving from left field, both dramatically and politically, is perky rich girl law student Ellen Roark (Sandra Bullock), who keeps pestering Brigance to let her pitch in with the defense. His persistent refusals unfortunately point up one of the story’s biggest weak points, as Brigance would seem to need all the help he can get.

In one of the tale’s more interesting passages, the NAACP and the local black minister try to dump Brigance by imposing some high-powered legal representation , but the shrewd Hailey resists the move and sticks with his man. When his wife (Ashley Judd) and daughter conveniently leave town, Brigance has a change of heart and welcomes the assistance of the foxy Northerner with the black Porsche convertible, which throws a measure of sexual tension into the mix as well.

The trial itself is intense and provides numerous surprises and twists. With the crafty, ambitious Rufus Buckley (Kevin Spacey) leading the prosecution and an all-white jury hearing the case, Hailey would seem to be as good as dead. Despite some vital help from Roark, it all comes down to Brigance, in his summation, to convince the jurors that, perhaps, if they had been in Hailey’s shoes, they might have done the same thing.

As originated by Grisham and adapted by Akiva Goldsman, this is a story of elemental emotional and legal issues splashed across a large canvas, and director Joel Schumacher has done a solid job of keeping the many components in focus and balance. The picture is handsomely, even elegantly made, conspicuously well shot by Peter Menzies Jr. and scored with unusual subtlety and suppleness by Elliot Goldenthal .

Anointed for stardom by Schumacher and Grisham, the tall, blond, lanky McConaughey possesses traditional movie-star good looks and is up to the varied demands of the central role. At the same time, there are some built-in liabilities with the part, not only his puzzling passivity in building his case but some hackneyed scenes with his wife, the problems with which are no fault of the actors.

Jackson has the most potent dramatic opportunities and makes the most of them in the film’s most riveting performance. His careful, deliberate readings automatically heighten attention to what he’s saying, and his blunt speech about race relations and the law to his attorney the night before the latter’s summation is a high point.

Although she receives top billing, Bullock plays a somewhat peripheral character who hovers around the edges of the central events until rather late in the game. All the same, she is very fetching as a young woman who knows her worth and proves it time and again.

Supporting cast provides a vast amount of authority, amusement and sheer professionalism, especially Spacey as the slick prosecutor, Donald Sutherland as Brigance’s dissolute mentor and Patrick McGoohan as the old-school presiding judge. Chris Cooper delivers a brief but exceptionally vivid turn as the injured deputy, while M. Emmet Walsh is curiously unbilled for his appearance as a key trial witness.

All tech contributions are top-drawer.

• Production: Warner. Director Joel Schumacher; Producer Arnon Milchan, Michael Nathanson; Screenplay Akiva Goldsman.
• Crew: Camera (Technicolor, Panavision widescreen), Peter Menzies Jr.; editor, William Steinkamp; music, Elliot Goldenthal; production design, Larry Fulton; art direction, Richard Toyon; set design, Keith P. Cunningham, Maya Shimoguchi; set decoration, Dorree Cooper; costume design, Ingrid Ferrin; sound (Dolby/SDDS), Petur Hliddal; associate producer-assistant director, William M. Elvin; casting, Mali Finn. Reviewed at Warner Bros. Studios, Burbank, June 21, 1996. MPAA Rating: R. Running time: 150 min.
• With: Ellen Roark ... Sandra Bullock Carl Lee Hailey ... Samuel L. Jackson Jake Brigance ... Matthew McConaughey Rufus Buckley ... Kevin Spacey Ethel Twitty ... Brenda Fricker Harry Rex Vonner ... Oliver Platt Sheriff Ozzie Walls ... Charles S. Dutton Carla Brigance ... Ashley Judd Judge Omar Noose ... Patrick McGoohan Lucien Wilbanks ... Donald Sutherland Freddie Cobb ... Kiefer Sutherland Tim Nunley ... John Diehl Pete Willard ... Doug Hutchison Billy Ray Cobb ... Nicky Katt Rev. Isaiah Street ... Joe Seneca Deputy Looney ... Chris Cooper Cora Cobb ... Beth Grant Dr. Rodeheaver ... Anthony Heald Norman Reinfield ... Jonathan Hadary Brent Musgrove ... Byron Jennings Gwen Hailey ... Tonea Stewart Tonya Hailey ... Raeven Larrymore Kelly Stump Sisson ... Kurtwood Smith Willard Tyrell Bass ... M. Emmet Walsh

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A Time to Kill

By Peter Travers

Peter Travers

No one takes the film of John Grisham’s 1989 novel, his first and most personal, more seriously than Grisham. He withheld selling the film rights (for a very impressive $6 million) until he had a say in who would play Jake Brigance, the young Mississippi lawyer defending a black father, Carl Lee Hailey (Samuel L. Jackson), on trial for killing the two white men who raped his 10-year-old daughter. Grisham felt close to Jake since he, too, was a young Mississippi lawyer before quitting to write such best sellers-turned-movie blockbusters as The Pelican Brief and The Client.

Grisham rejected the usual star suspects (Brad Pitt, Val Kilmer, Woody Harrelson) but sparked when director Joel Schumacher brought him Matthew McConaughey, a Texas greenhorn best known as Drew Barrymore’s cop loverman in Boys on the Side. Grisham was right to hold out. McConaughey, 26, is dynamite in a performance of smarts, sexiness, scrappy humor and unmistakable star sizzle.

Still, there should have been limits to pleasing Grisham. Schumacher and screenwriter Akiva Goldsman adroitly pared down The Client to its emotional core. In A Time to Kill, way long at 148 minutes, they cram in too much, including Grisham’s polemics about racism, the resurgence of the Ku Klux Klan and the moral dilemma of the death penalty.

This distracts from the heart of the picture, which is in the bond between Carl Lee (the brilliant Jackson is quietly devastating) and Jake, a husband and father who knows he, too, would have shot anyone who raped his little girl. Jake’s summation to the all-white jury, instructing the members to close their eyes and imagine their own child being brutalized, is a stirring climax. A female juror delivered the speech in the book, but, hey, this is Hollywood.

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In fact, A Time to Kill is at its most compelling and entertaining when Schumacher lets it rip in the old potboiler tradition. He draws prime performances from a rich cast, notably Oscar-winner Kevin Spacey as a treacherous prosecutor, Brenda Fricker as Jake’s cheeky secretary, Patrick McGoohan as a hanging judge named Noose, Charles Dutton as a football hero-turned-sheriff, M. Emmet Walsh as a boozy shrink and Donald Sutherland as a boozy, disbarred lawyer.

Kiefer Sutherland, Donald’s son, doesn’t fare as well as a stereotyped racist. Neither does the gifted Ashley Judd as Jake’s sexy but strident wife (“They’re burnin’ crosses on our lawn!”). Oliver Platt, as Jake’s cynical lawyer crony, is obvious but welcome comic relief. The oddest turn comes from adorable Sandra Bullock. She’s top-billed in the film, yet she’s saddled with a supporting role as a Boston law student, a babe genius who assists Jake with the case and pays a tall price for messing with Southern politics and Jake’s marriage. Audiences expecting more Bullock or more weighty import from A Time to Kill will have to adjust expectations and settle for the kick of a good yarn.

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FILM REVIEW

FILM REVIEW;A Father's Revenge For His Child's Rape

By Janet Maslin

• July 24, 1996

This must be an author's dream: to start in obscurity, write books that make their way to every airport and drugstore, then belatedly sell a favorite first novel to the movies. And have one's fictionalized stand-in (in the case of John Grisham, a dashing and principled young Mississippi lawyer), played by a bright new matinee idol who sends the film's Adonis factor through the roof.

"A Time to Kill," adroitly styled by Joel Schumacher to make the most of John Grisham's story and Matthew McConaughey's captivating swagger, matches Mr. Schumacher's "Client" in its success at bringing a Grisham best seller to the screen. That pegs "A Time to Kill" as something resembling a lavishly illustrated beach book, but this film version still has much to recommend it: an outstanding cast, a gripping and racially charged story, a tumultuous Southern backdrop and good old-fashioned dramatic sweep. All those ingredients would keep things lively even if Mr. McConaughey lacked dimples, charisma and a profile that belongs on a coin.

Arriving on a wave of such breathless advance publicity that half the moviegoing public already knows the name of his dog, Mr. McConaughey succeeds in anchoring the film with a performance worth taking seriously. He plays Jake Brigance, the small-town lawyer who becomes embroiled in a murder case that violently polarizes Clanton, Miss., and bitterly contrasts the new South with the old.

Amid these tensions, the hero of the 1989 novel (by the then-obscure Mr. Grisham, who drew on his own experiences as a lawyer) eagerly courts the press to hang onto his client and keep his career afloat. Mr. Schumacher, who flatters his star with care and attention rarely seen since the demise of the studio system, and whose crisply decorative approach to courtroom drama makes even the courtroom look good, has the sense to spare Mr. McConaughey publicity-hound scenes like those.

The case is that of Carl Lee Hailey, who is played by a scorchingly terrific Samuel L. Jackson and who by any reasonable measure should be the film's most important character. When Carl Lee, a rural black factory worker, learns that his 10-year-old daughter has been raped and beaten by two drunken rednecks, he becomes distraught and insists on avenging this outrage. It happens that Jake and Carl Lee are friendly, since Jake once defended Carl Lee's brother. And it happens that Carl Lee tells Jake of his intentions before murdering the two rapists in front of witnesses.

What makes "A Time to Kill" Mr. Grisham's most interesting novel is the gray area into which this black-and-white case wanders. In Clanton, where a jury will be mostly white, can Jake really play by the rules? Or should he recognize the realities of small-town Southern justice and try more unconventional means of saving his client's life? As Carl Lee pleads insanity to this murder charge, even though Jake knows his crime was premeditated, "A Time to Kill" succeeds in evading the troubling issues it raises with a wealth of entertaining walk-ons. If the film doesn't add up to a cogent legal argument, neither does it have trouble delivering 2 hours and 20 minutes' worth of sturdy, highly charged drama.

As adapted efficiently by Akiva Goldsman, the film finds room for most of Mr. Grisham's colorful characters, like Jake's one-time mentor (Donald Sutherland), a debonair drunk who can be found wearing his dressing gown and Panama hat in the daytime. Then there are Jake's long-suffering legal secretary (Brenda Fricker), his wisecracking crony (Oliver Platt, providing rueful comic relief) and his gorgeous wife (Ashley Judd), who conveniently leaves town midway through the movie. Her departure coincides with the arrival of the Ku Klux Klan, whose presence in Canton in broad daylight inflames tensions and drives the film slightly off course in the overblown later stages of its story.

The departure of Jake's wife is also made to dovetail, with the kind of tidy plotting that has become endemic to Mr. Grisham's more recent writing, with the arrival of Ellen Roark, an improbably pert and brilliant young law student. Ellen is played by Sandra Bullock, who is too mature for this role and too flippant for this movie. But she does provide ample window dressing when she rolls into Canton wearing tight clothes and driving a black Porsche.

Ms. Bullock's presence in this smallish, jarring role also allows for mildly charged repartee between Ellen and Jake, who takes her on as an unpaid assistant and covert romantic interest. Mr. McConaughey, who does no small amount of flirting with the camera, also easily holds up his end of seductive banter with his co-star. She (late at night): "Do you want me to stay?" He: "Yeah, I want you to stay. So you better go."

Mr. Schumacher is at his better-than-"Batman" best in bringing out the sizzle in such situations, and in casting even the film's smaller roles with dependably strong actors. Of special note are Chris Cooper, in police uniform again after his wonderful performance in "Lone Star"; Charles S. Dutton as the tough local sheriff, and Tonea Stewart as Carl Lee's anguished wife. Rounding out the trial scenes is an expert Kevin Spacey, playing the natty prosecutor whom Jake teasily addresses as "Governor," in honor of his political ambitions. "And today ain't even my birthday!" Mr. Spacey's character exults, upon learning that he will be sparring with Jake Brigance in court.

"A Time to Kill" is rated R (Under 17 requires accompanying parent or adult guardian). It includes violence, profanity, racial epithets and a brief but very disturbing rape scene.

A TIME TO KILL

Directed by Joel Schumacher; written by Akiva Goldsman, based on the novel by John Grisham; director of photography, Peter Menzies Jr.; edited by William Steinkamp; music by Elliot Goldenthal; production designer, Larry Fulton; produced by Arnon Milchan, Michael Nathanson, Hunt Lowry and Mr. Grisham; released by Warner Brothers. Running time: 128 minutes. This film is rated R.

WITH: Sandra Bullock (Ellen Roark), Samuel L. Jackson (Carl Lee Hailey), Matthew McConaughey (Jake Brigance), Kevin Spacey (Rufus Buckley), Brenda Fricker (Ethel Twitty), Oliver Platt (Harry Rex Vonner), Charles S. Dutton (Sheriff Ozzie Walls), Ashley Judd (Carla), Patrick McGoohan (Judge Omar Noose), Tonea Stewart (Gwen Hailey), Chris Cooper (Looney), Kiefer Sutherland (Freddie Cobb) and Donald Sutherland (Lucien Wilbanks).

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A Time to Kill

Time out says, release details.

• Duration: 149 mins

Cast and crew

• Director: Joel Schumacher
• Screenwriter: Akiva Goldsman
• Matthew McConaughey
• Samuel L Jackson
• Sandra Bullock
• Donald Sutherland
• Oliver Platt
• Kevin Spacey
• Brenda Fricker
• Charles Dutton
• Kiefer Sutherland
• Patrick McGoohan

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Where to watch

A time to kill.

Directed by Joel Schumacher

Experience a time you'll never forget.

A young lawyer defends a black man accused of murdering two white men who raped his 10-year-old daughter, sparking a rebirth of the KKK.

Matthew McConaughey Sandra Bullock Samuel L. Jackson Kevin Spacey Ashley Judd Donald Sutherland Oliver Platt Charles S. Dutton Brenda Fricker Kiefer Sutherland Patrick McGoohan Rae'Ven Larrymore Kelly Tonea Stewart John Diehl Chris Cooper Nicky Katt Doug Hutchison Kurtwood Smith Tim Parati Beth Grant Anthony Heald M. Emmet Walsh Octavia Spencer Darrin Mitchell LaConte McGrew Devin Lloyd Mark W. Johnson Joe Seneca Thomas Merdis Show All… Alexandra Kyle Terry Loughlin Andy Stahl Joe Bullen Lorraine Middleton Graham Timbes Jonathan Hadary Benjamin Mouton Byron Jennings Patrick Sutton Greg Lauren Danny Nelson Mike Pniewski Elizabeth Omilami Lukas Cain Stacy Rae Toyon Wayne Dehart Helen E. Floyd David Brian Williams Rebecca Koon James M. Crumley Jr. Jim Ritchie Perry Ritchie Mike McLaren Tim Monich Leonard L. Thomas Brance H. Beamon Mildred J. Gilbreath Will Crapps David U. Hodges Maggie Wade Dixon Russell Hambline Robert Chapman Robert R. Bell Jr. Tommy McCullough Ryk St. Vincent Bettina Rose Linda Calvin Johnson Terrance Freeman Alice Julius-Scott William Truly Jr. Walter L. Hutchins Jerry Hunt Howard Ballou Todd Demers Stephanie Strickland Kim Hendrix Rob Jay Sherri Hilton Steve Coulter Jackie Stewart Rosebud Dixon-Green

Director Director

Joel Schumacher

Producers Producers

John Grisham Hunt Lowry Arnon Milchan Michael G. Nathanson William M. Elvin

Writer Writer

Akiva Goldsman

Original Writer Original Writer

John Grisham

Casting Casting

Mali Finn Emily Schweber

Editor Editor

William Steinkamp

Cinematography Cinematography

Peter Menzies Jr.

Assistant Directors Asst. Directors

William M. Elvin Alan Edmisten

Lighting Lighting

Kevin Murphy Eric Wycoff

Camera Operator Camera Operator

Randy Feemster

Production Design Production Design

Larry Fulton

Art Direction Art Direction

James F. Truesdale Richard Toyon

Set Decoration Set Decoration

Keith P. Cunningham Dorree Cooper

Special Effects Special Effects

Steve Galich Dominik Dugandzic Scott Mobley

Visual Effects Visual Effects

Andrew Adamson

Title Design Title Design

Anthony Goldschmidt

Stunts Stunts

Matt Byrne Mickey Gilbert Lance Gilbert Christian J. Fletcher Troy Gilbert

Composer Composer

Elliot Goldenthal

Sound Sound

Adam Jenkins Roland N. Thai Lee Lemont John Leveque Joe Divitale Petur Hliddal Hilda Hodges Mary Jo Lang Fred Stafford

Costume Design Costume Design

Ingrid Ferrin

Makeup Makeup

Marietta Carter-Narcisse Pamela S. Westmore Ben Nye Jr.

Hairstyling Hairstyling

Robert L. Stevenson Janine Rath-Thompson

Regency Enterprises Warner Bros. Pictures

Releases by Date

24 jul 1996, 09 aug 1996, 15 aug 1996, 12 sep 1996, 13 sep 1996, 20 sep 1996, 26 sep 1996, 27 sep 1996, 11 oct 1996, 25 oct 1996, 31 oct 1996, 01 nov 1996, 02 nov 1996, 03 nov 1996, 06 nov 1996, 07 nov 1996, 08 nov 1996, 13 nov 1996, 15 nov 1996, 21 nov 1996, 29 nov 1996, 06 dec 1996, 28 dec 1996, 28 mar 1997, 31 mar 2018, 22 apr 1998, 30 apr 1998, 09 feb 2009, 10 feb 2009, 18 mar 2009, 01 aug 2011, 28 feb 2014, 21 nov 2014, 06 dec 2003, 13 dec 2012, 08 oct 2021, releases by country.

• Theatrical M
• Theatrical 14
• Physical Blu-ray
• Theatrical 15+
• Theatrical 12
• Physical DVD
• Theatrical 18
• Theatrical 15
• Theatrical R

Netherlands

• Theatrical 16
• Physical 16 DVD
• TV 16 Net 5
• Physical 16 Blu ray

Philippines

• Theatrical M/12
• Theatrical 18+

South Africa

South korea.

• Theatrical 15 År

Switzerland

United arab emirates.

149 mins   More at IMDb TMDb Report this page

Popular reviews

Review by Tessa ★★★★ 12

Sweatiest film I’ve ever seen.

Review by Fatimaaaa ★★★★

Kevin Spacey defending child rapists? Pretty ironic if you ask me lmao

Review by Will Menaker ★★★ 13

Close your eyes...now imagine Joel Schumacher's sweat-drenched courtroom drama as the wettest, most insane, and most pro-death penalty movie of the 1990s. The entire message of this piece of liberal agitprop is that rape and racism are the worst evils imaginable and that extrajudicial murder, provided you're reasonably sure of the guilt of the parties in question, is justice.

It's probably deliberate, but this movie can't decide if it's set in 1996 or 1906. A complete travesty on so many levels, but also deliriously entertaining, it feels like it was made by aliens who learned about morality, the legal system and the American South through radio and tv signals that made it to deep space.

Probably my favorite scene is…

Review by Bethany ★★★★½ 10

This review may contain spoilers. I can handle the truth.

" now imagine she's white. "

honestly, i am truly shocked that a time to kill isn't discussed more often. matthew mcconaughey gives his career-best performance in this film, along with a stunning performance by samuel l. jackson who, without a doubt, will absolutely break your heart. there are also two really great supporting acts from sandra bullock and oliver platt, both of whom i love dearly!

the first half really grabs you by the throat and throttles you, while the second half of the film slows down and segues into a raw and tense courtroom drama (one of my favorite sub-genres) that will have you on the edge of your seat until the satisfying conclusion. a time to kill is, in my opinion, an essential viewing—until human beings are able to fully see each other as equals, justice will never be fairly served.

Review by matt lynch ★½

I mean yes they deserved to die, and of course I hope they burn in Hell, but everything here is calculated to remove the nuance of any moral argument for you rather than actually reckon with systemic oppression and/or vigilantism; everyone who advocates for Jackson's character's conviction is presented as a cartoonish, hissing racist...like the fucking judge's name is Noose for heaven's sakes. There's even a "fine people on both sides" streak of bullshit wherein the NAACP is presented as a bunch of opportunists seizing on tragedy for political ends. It feels like everyone involved with the making of this movie thought they had TO KILL ANOTHER MOCKINGBIRD on their hands -- a terrible idea on its face even hypothetically…

Review by Drew Clark ★★★½ 3

I love how this movie literally ends with the white guy getting invited to the cookout

Review by 𝐇𝐞𝐚𝐭𝐡𝐞𝐫 🌷 ★★★½ 1

The fact that both Donald Sutherland and Kiefer Sutherland are in this, don’t play relatives, and nobody comments on how they look exactly alike...interesting choice.

Review by Katherine ★★★★

"Now imagine she's white."

I don't think I've ever gasped so hard in my life. So many brilliant moments in this film and such an intense story. Glad I finally saw it.

Review by Robert Hayes ★★★★

"Yes, they deserved to die, and I hope they burn in hell !"

Case closed.

Review by Molly Laich ★★ 2

Never forget: The southern racist judge presiding over a capital murder case is named “Noose”

Review by DirkH ★★★½

While it sometimes gets a bit too heavy handed for its own good, it is still a very good courtroom drama and maybe the best Grisham adaptation yet.

It manages to capture the sultry South of America fantastically. It has an oppressive, sticky feel to it that reflects and accompanies the proceedings really well.

Schumacher directs his wonderful cast really well and paces his film perfectly. Given the subject matter, he has done really well to not turn this into a cliched, cheesy affair.

Review by Remobo 12

Ways that this film has aged poorly:

Kevin Spacey gleefully accuses someone of committing statutory rape with a minor.

The use of the “N Word” is astounding! Like they are going for a record, or something. And yet, when searching for a list of the most egregious violators of cinematic vocabulary abuse, it’s all about QT and Blazing Saddles. I’m not going back to count them, but this movie might just have them beat.

Donald and Kiefer Sutherland are both in this film, yet their characters never interact, and don’t even know each other. That’s not a sign of aging poorly…it’s just weird.

Sandra Bullock casually smokes in almost every scene she’s in. This caused me to realize that in…

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A Time To Kill – Movie Review

The Low-Down:

A Time To Kill is a compelling and tense legal thriller based on John Grisham’s first novel. It is one of those rare movies that actually turned out to be better than the book it was based on. The movie is about an African American man convicted of murdering two white men, who had raped his daughter, and almost killed her and his defense lawyer, who goes against all odds to save him from the death penalty. Themes like vigilantism, racial discrimination and lack of faith in the judicial system, were skillfully dealt by veteran director Joel Schumacher. The ensemble cast with heavyweights like Kevin Spacey, Donald Sutherland, Samuel L Jackson and Mathew McConaughey in the lead add a certain gravitas to the movie and ensure that you are glued to your seat from the very first scene.

Samuel L Jackson gave a memorable performance playing Carl Lee Hailey, the avenging father who had killed the rapists in broad day light because he lacked faith in the justice system. Mathew McConaughey was convincingly solid as Jake Brigance, a young, sharp and witty but inexperienced defense lawyer. The relentless and untiring determination towards his commitment to seek justice is a lesson for all the young and aspiring lawyers.

The Legal Angle:

Grisham’s unapologetic depiction of vigilante justice as a brutal consequence of distrust in the justice system may resonate with some people but it also poses a legal and moral conundrum. Can someone be allowed to take the law into their own hands? Is there any justification for vigilantism in a jural society? Joel Schumacher’s careful treatment of these sensitive issues present a compelling case for vigilante justice, but scholars of law are bound to disagree with the methods of Carl Lee Hailey.

The idea that courts are a medium through which justice must be dispensed is reinforced and packaged in an emotionally charged tale of a helpless father. The distinction between justice and deciding matters in accordance with the law, is maintained throughout the movie. While the purpose of law is to establish justice in a society, in practice this purpose is usually ignored in favor of what has already been defined (law). This divide between law and justice has been a bone of contention among jurists for thousands of years and this movie adds yet another take on the age old debate.

The main idea being, “will a black man receive a fair trial in the south?” was a recurring theme through out the movie and in a broader context can easily be applied to societies where socio-legal discrimination is still prevalent against racial/religious minorities. At the heart of this, the story is about the importance of civil rights and dangers of unchecked social privileges.

Final Verdict:

A spectacularly entertaining movie made believable with impeccable acting and brilliant direction. It will leave the audience with an aftertaste of justice in their mouths and questions in their minds. Not a dull moment guaranteed.

The views expressed in this article are those of the author and do not necessarily represent the views of any organization with which he might be associated.

Author: Ali Zaidi

The writer is a final year law student at Punjab University Law College, Lahore.

• A Time To Kill - Movie Review - Courting The Law

A TIME TO KILL

What You Need To Know:

(C, LLL, VVV, A, D, M) Christian worldview which examines the issues of man's law, God's Law and Grace and which includes negative portraits of black and white individuals and groups that try to use Christianity for their own purposes; 41 obscenities & 4 profanities; extreme violence including on-off camera rape of little girl, shootings, clubbing, hangings, torching, a man burns in his clan outfit, a woman is hung from a post to die, houses burn, man is beaten up, man is knifed, woman is beaten up; no sex except off-camera rape; no nudity shown though woman's blouse is torn off & a man has to remove pants for medical treatment; alcohol use; smoking; and, racism including cross burning, deceit, misuse of funds.

More Detail:

A TIME TO KILL is a carefully crafted attempt at surgically removing the cancer of racism. It is a story of Carl Lee Hailey, a father whose young daughter is cruelly attacked by two drunk white men out to harass the Black community. It is also the story of a young lawyer, Jake Brigance, who defends Hailey after he murders these white rapists in the courthouse. Around this courtroom drama swirls a tornado of racist passions. On one side is the KKK, re-established in the wake of Carl Lee’s vigilante justice. On the other side, are the NAACP and the black church who are trying to use the case for their own purposes. We soon learn that all men are sinners, including Jake, who took this case at the expense of all of his loved ones.

Novelist John Grisham’s faith is the foundation of this story, but there are those in the film who misuse and abuse this faith and the film seems to condone vigilantism as it plumb’s the depths of racism. The movie doesn’t treat the fact that Jesus died for our sins, but it has moments of forgiveness. Regrettably, the violence is raw, but not exploited. The language is raw, but Jesus’ name is not misused. A TIME TO KILL contains something to upset everyone, and yet at its core, it tells us that we are all called to love our brothers.

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A Time to Kill Reviews

No All Critics reviews for A Time to Kill.

Netflixable? Italian “Adagio” tells a Cops and Mobsters saga…slowly

“Adagio” is a classic 100 minute thriller in a 126 minute package.

Director and co-writer Stefano Sollima takes his sweet time setting the scene — which he never identifies as greater Rome, Lazio — and takes even longer letting us know what we’re diving into, a tale of blackmail involving mobsters, dirty cops and a young pawn trapped in two worlds.

Sollima takes a longer while introducing the disparate characters, and longer still to identify them by name and association. This slow, “make the audience come to you” mystery becomes seriously tedious, after a while.

Although there are grace notes and riveting touches in the later acts, the finale proves to be an anti-climax as Sollima draws things out some more. He doesn’t even know when to drop the mike.

But it’s all there in the not-exactly-ironic title. As any classical music fan can tell you, “Adagio” means “slowly” in Italian.

We follow the young, headphone-wearing music fan ( Gianmarco Francini ) into one of those lurid, over-the-top, over-designed movie versions of a disco, where the team of cops tracking “the puppy” have their orders, which they’ve passed on to him. Get something that incriminates someone on one of the many surveillance cameras they’ve planted there.

The kid is in over his depth, surrounded by drag queens and drugs, which he is more than happy to sample. Realizing he’s incriminating himself, he bolts.

That draws out single-father-of-two detective Vasco ( Adriano Giannini ), in a fury and using his team’s tech expert and “cleaner” ( Lorenzo Adorni ) and muscle ( Francsco Di Leva ) as he hunts their “puppy” down.

Whatever their credentials, tech and surveillance expertise, these cops are up to no murderous good.

The kid, Manuel, lives with his aged, addled father ( Toni Servillo ) whose gangland name — “Daytona” — he drops as he scampers about, trying to find “help” to save his skin and get him out of this jam. He turns to the blind mobster ( Valerio Mastandrea ) nickamed Polniuman. And Polniuman (say it aloud) sends Manuel to bald, scowling “I can’t help you” badman “Romeo,” played with a largely internalized menace by Pierfrancesco Favino.

“You know a lot of things you shouldn’t know,” “the puppy” is told (in Italian with English subtitles). The viewer? We know little, but we start to find things out, bit by bit as this Byzantine scheme unfolds.

There are old grudges and ancient alliances in play here, old mobster codes and big money and Italian politics being manipulated by dirty cops out for a payday.

A couple of twists remind us of true pieces of American gangland lore — the pose mob boss Vincent Gigante affected for his own safety, etc. And the film’s climax has a brute elegance that makes us long for the more streamlined story that should have led to it.

The Rome depicted here is threatened by wildfires which lead to constant power outages, often at dramatically opportune moments. Sollima (“Gomorrah,” “Sicario 2”) likes telling tales with sweep and allegorical darkness. But even taking that into account, this picture is slow right to the edge of dullness.

Nepo baby Giannini — son of Giancarlo — has the film’s showiest role, a cop who has lost the plot and crosses from “ Get that money” to “ Clean this up” to “ Kill that kid, no matter what.”

But it is the old men and their old ways that carry this slow-footed thriller, with Favino (“Angels & Demons,” “World War Z”) and Servillo (“Il Divo”) lending their “old men still capable of violence” gravitas to a story that would have been better served by quicker pacing.

Rating: TV-MA, bloody violence, drugs, sexual content, profanity

Cast: Pierfrancesco Favino, Toni Servillo, Gianmarco Francini, Adriano Giannini, Valerio Mastandrea, Lorenzo Adorni, Francesco Di Leva and Silvia Salvatori.

Credits: Directed by Stefano Sollima, scripted by Stefano Bises and Stefano Sollima. A Netflix release.

Running time: 2:06

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A Time to Kill

• In Canton, Mississippi, a fearless young lawyer and his assistant defend a black man accused of murdering two white men who raped his ten-year-old daughter, inciting violent retribution and revenge from the Ku Klux Klan.
• When Tonya Hailey, an innocent little African-American girl is raped and beaten by 2 beer-guzzling rednecks, the town of Canton, Mississippi is shocked. Her father Carl Lee Hailey is outraged, and figuring he could not see those boys set free, decides to take justice into his own hands and kills them in the court house, in front of numerous witnesses. Now it's up to Jake Brigance to get Carl Lee off the hook. He has people that help him, but he is up against tough D.A. Rufus Buckley. Will he be able to prove that a black man can get a fair trial in Mississippi? — Alexis <[email protected]>
• A young, attractive and highly-skilled attorney is faced with the toughest case of his life, one that on many occasions may also threaten it. In the southern Mississippi town of Canton, the K.K.K. is active and the tension is high when the black majority is angered at the rape and beating of a black man's 10-year-old daughter. Against Jake's advice, the distraught father takes revenge, gunning down the two criminals in the local courthouse. Racial hatred heightens with the suspense and conflict threatens to break out regardless of the verdict. Jake must decide, along with his new, eager assistant whether he and his family can run the risk of defending the man. — Paul Chard <[email protected]>
• Two white racists, Billy Ray Cobb (Nicky Katt) and Pete Willard (Doug Hutchison), come across a 10-year-old black girl named Tonya Hailey (Rae'Ven Larrymore Kelly) in rural Mississippi. They violently rape and beat Tonya and dump her in a nearby river after a failed attempt to hang her. She survives, and the men are arrested. Tonya's father, Carl Lee Hailey (Samuel L. Jackson), seeks out Jake Brigance (Matthew McConaughey), an easygoing white lawyer. Carl Lee is worried that the men may be acquitted due to deep-seated racism in the Mississippi Delta area. They discuss a similar case further south in which four white teenagers were acquitted of the rape of a black girl. Brigance admits the possibility that the rapists will walk free in this case as well. Carl Lee acquires an M16 rifle, goes to the county courthouse and opens fire. This results in the deaths of both rapists and also in the unintended injury of Deputy Looney (Chris Cooper), who has to have his leg amputated. Carl Lee is soon arrested without resistance. Brigance agrees to provide defense for Carl Lee for a much smaller amount of money than such a trial would usually require. He intends to enter a plea of not guilty by reason of temporary insanity. The rape and subsequent revenge killing gain national media attention. The Ku Klux Klan begins to organize in the area. Freddie Lee Cobb (Kiefer Sutherland), the brother of Billy Ray, calls Brigance and his family with death threats and organizes the formation of a Klan chapter in the county. The district attorney, Rufus Buckley (Kevin Spacey), decides to seek the death penalty, and presiding Judge Omar Noose (Patrick McGoohan) denies Brigance a change of venue. Brigance seeks help for his defense team from sleazy divorce lawyer and close friend Harry Rex Vonner (Oliver Platt). He seeks guidance from long-time liberal activist Lucien Wilbanks (Donald Sutherland), a once-great civil rights lawyer who was disbarred for violence on a picket line. Brigance is approached by Ellen Roark (Sandra Bullock), a fiery liberal law student from Massachusetts who belongs to the ACLU. Brigance is initially reluctant to accept Ellen's cooperation, but he later agrees to let her help with the case. The trial begins amid much attention from the media and public. The Klan, which has a member inside the sheriff's department, burns a cross on Brigance's lawn. This incident causes an argument between Brigance and his wife to the effect that if Jake had heeded Carl Lee's warning, this would not have happened. The police evacuate Jake's family from their house. Brigance and the police capture one of the Klan members, and they find a case with a bomb inside it. Brigance throws the bomb into the air, where it explodes. This motivates Jake to send his wife and young daughter away while the trial continues. As the trial begins, the KKK march down Canton's streets and meet a large group of mostly black protesters at the courthouse. Chaos ensues outside the courthouse as the police lose control of the crowd. A black teenager kills the KKK Grand Dragon (Kurtwood Smith) with a Molotov cocktail, burning him to death. Brigance's attraction to Roark grows, and they nearly begin an affair before Brigance regains his wits. He goes home, finding that arsonists have burned down his house, nearly killing his dog Max in the process. The next morning, as the Mississippi National Guard is called in to take care of the rioting, Brigance sits on the still-smoking steps of his house, calling for his dog. Harry Rex arrives at the remains of the Brigance home and tells Jake that it is time to quit the case. Brigance argues that to quit now would make his sacrifices meaningless. The jury secretly discusses the case in a restaurant, going against the judge's instructions. All but one are leaning toward a guilty verdict and Carl Lee's fate looks sealed. Freddie Lee Cobb shoots at Brigance as he exits the courthouse, but misses. The bullet hits a national guardsman policing the demonstrations, paralyzing him. Roark is kidnapped by Klansmen, beaten, tied to a stake in the wilderness in her underwear and left to die. She is saved by an informant called "Mickey Mouse," who is one of the Klansmen: Tim Nunley (John Diehl). Out of options, Brigance goes to see Carl Lee in his jail cell and advises accepting a lesser guilty plea. Carl Lee refuses and rejects Brigance's notions of race and justice, noting that although Brigance considers himself a "friend" to Carl Lee, Brigance has never visited his home and that "our kids will never play together." Carl Lee tells Brigance that he chose Brigance to be his attorney because Brigance is in fact his "enemy", as Brigance is white and was thus raised amid the same racial prejudices harbored by the jury members. Carl Lee tells Brigance to sway the jury by presenting to them whatever argument it would take to get Brigance himself to vote for acquittal, were Brigance a member of that jury. The courthouse is packed to see the attorneys' closing arguments. Brigance tells the jury to close their eyes and listen to a story. He describes, in slow and painful detail, the rape of a young 10-year-old girl, mirroring the story of Tonya's rape. He then asks the jury, in his final comment, to "now imagine she's white." This final burst of imagery challenges the very nature of the trial itself, raising the very real specter - within the racist culture of the community in which the crime took place - that the actions of Hailey would not have been called to question before the court of law had the victim been white. Had it been so, it is implied that the father's motive in murdering the rapists would have been seen by the public as justified, and there would not have been any prosecution. The argument Brigance then makes is that if the jury can - at any time - be compelled to spare the life of a white man for a vengeful murder, then they must be able to do the same for a black man. After deliberation, an African-American child runs out of the courthouse and screams, "he's innocent!" Jubilation ensues amongst the supporters outside. The KKK, enraged, become violent again. Sheriff Ozzie Walls (Charles S. Dutton) arrests Freddie Lee, as well as his own racist deputy. The movie ends when Brigance brings his wife and daughter to a family cookout at Carl Lee's house. Carl Lee is surprised and standoffish. Jake explains, "just thought our kids could play together," and Carl Lee smiles at that.

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'Demon Slayer' Season 4: How to Watch the Hashira Training Arc From Anywhere

Muzan is scheming, but the slayers have plans to counter his plot.

• Though Kourtnee hasn't won any journalism awards yet, she's been a Netflix streaming subscriber since 2012 and knows the magic of its hidden codes.

Demon Slayer: Kimetsu no Yaiba, the anime series based on Koyoharu Gotoge's popular manga of the same name, is set to return. The story follows siblings Tanjiro and his sister Nezuko, the sole survivors of a demon attack on their family. The incident transforms Nezuko into a demon, and while Tanjiro is bent on avenging his family's deaths, he's also consumed with finding a cure for his younger sister's condition. The fantasy series is coming back with a fresh storyline and higher stakes this season.

Tanjiro really went through it in the movie Demon Slayer: Kimetsu no Yaiba - To the Hashira Training, in which he killed Urami and Hantengu, but he thought his sister died in all the fighting. Wounded but relieved, he learned that Tamayo had good news: The Twelve Kizuki demon blood can cure humans.

As we head into the Hashira Training arc in season 4, the wicked demon king King Muzan is coming for Nezuko, hoping to devour her to become immortal. To prepare for his unwelcome arrival, the Hashira are training the corps for another dangerous showdown, and Tanjiro will get to sharpen his combat skills. Fans will also get to see Sanemi and Giyu work together -- a dynamic that's sure to entertain. 

Don't miss out when Demon Slayer returns with new episodes. Here's when to watch and how a VPN could be a useful tool while streaming.

Read more :  Best Anime Streaming Services of 2024

When to watch Demon Slayer season 4

The first episode of the Hashira Training arc runs one hour and will stream exclusively on Crunchyroll on Sunday, May 10, at 11:45 a.m. PT (2:45 p.m. ET) . After the premiere, new weekly episodes will air each Sunday at 10:45 a.m. PT (1:45 p.m. ET).

Demon Slayer season 4 is exclusive to Crunchyroll for now and for premium subscribers. The streaming service recently increased pricing for its Mega Fan and Ultimate Fan subscriptions, but the basic premium tier remains $8 per month. If you're looking to catch up and don't want to subscribe to Crunchyroll, Hulu has one season of the series, and Netflix has four previous arcs of the show.

Read more:  10 Anime Series You Should Stream in Spring 2024

Crunchyroll

Carries demon slayer season 4.

Crunchyroll is home to thousands of anime titles, including simulcasts, on-demand releases and originals. You can sign up for a free account to stream ad-supported content on the service. Just note that not all titles are available with the free version, and there is a wait for new releases. However, anime fans who want immediate access to new episodes should opt for Crunchyroll's basic $8 ad-free premium subscription. There's a free seven-day trial for new subscribers. 

How to watch Demon Slayer season 4 from anywhere with a VPN 

Perhaps you're traveling abroad and want to stream Crunchyroll while away from home. With a VPN, you're able to virtually change your location on your phone, tablet or laptop to get access to the anime series from anywhere in the world. There are other good reasons to use a VPN for streaming, too. A VPN is the best way to stop your ISP from throttling your speeds by encrypting your traffic. Using a VPN is also a great idea if you're traveling and find yourself connected to a Wi-Fi network and you want to add an extra layer of privacy for your devices and logins. Streaming TV can be a bit smoother with a reliable, quality VPN that's passed our tests and security standards. You can use a VPN to stream content legally as long as VPNs are legal in your country and you have a valid subscription to the streaming service you're using. The US and Canada are among the countries where VPNs are legal, but we advise against streaming or downloading content on illegal torrent sites. We recommend ExpressVPN , but you may opt for another provider from our best list for streaming VPNs , such as Surfshark or NordVPN. 

Best VPN for streaming

If you're looking for a secure and dependable VPN, our Editors' Choice is ExpressVPN. It's fast, works on multiple devices and provides stable streams. It's normally $13 per month, but you can  sign up for ExpressVPN and save 49%  -- the equivalent of $6.67 per month -- if you get an annual subscription. 

ExpressVPN offers a 30-day money-back guarantee.  Read our review of ExpressVPN .

Follow the VPN provider's instructions for installation, and choose a country where Demon Slayer season 4 is streaming on Crunchyroll.  Before  you open the streaming app, make sure you are connected to your VPN using your selected region. If you want to stream the special episode on more than one device, it's possible you'll need to configure each one to ensure you are signed in. Go to settings and check your network connections to verify you're logged in and connected to your VPN account. Now you're ready to open Crunchyroll to stream. 

If you run into issues with streaming, first make sure your VPN is up and running on its encrypted IP address. Double-check that you've followed installation instructions correctly and you've picked the right geographical area for viewing. If you still encounter connection problems, you might need to reboot your device. Close all apps and windows, restart your device and connect to your VPN first. Note that some streaming services have restrictions on VPN access.

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