A FEW GOOD MEN Review – ****

NOTE: This review is based on a review I had previously posted on social media on May 4, 2015.

I’ve spoken before of films which are exceptionally rewatchable, and here’s another addition to that pantheon–one of the best courtroom dramas ever made, a top-notch piece of Hollywood entertainment, and a work which challenges our conceptions of military honor without demonizing it. It showcases the talents of Rob Reiner, right before he plunged into the depths with North and never fully recovered, and Aaron Sorkin, right at the start of his frequently impressive but inconsistent career; both do some of their finest work here.

Rob Reiner’s direction balances humor and tension, exciting high points and thoughtful interludes, just about perfectly; Sorkin’s script (based on his play, with an uncredited polish from William Goldman) is a brilliantly crafted thriller, a satisfying story of redemption, and a showcase for some incredible dialogue, culminating in the “You can’t handle the truth!” speech, easily one of the best speeches in film history (and right up there with Patton’s opening speech for great military monologues).

It flows beautifully from start to finish (the first-rate editing also helps) and develops its characters and themes with care. It asks the question of where honor truly lies, and to whom a soldier owes their loyalty, and allows the characters, with their varying answers, to speak their peace; that it does so without diluting itself is all the more impressive.

You know the story, I hope: two Marines are on trial for the murder of a third, who died after a hazing incident went horribly wrong. And when their plea-bargaining young lawyer realizes that there is more to the case than he realized, he and the idealistic investigator assisting him follow the chain of responsibility all the way to their clients’ commanding officer—and decide to put him on the stand.

If the callow Kaffee isn’t Tom Cruise’s best performance, it’s close; he may go from plea bargainer to passionate advocate a little too abruptly, but when his integrity shines through, it doesn’t feel at all phony. Demi Moore almost certainly gives her best performance as Galloway, whose idealistic approach to the law must be leavened by Kaffee’s quick wit. The film does not dilute the subtle, insidious misogyny she faces on a daily basis, and Moore plays these moments with quiet power. (Kudos to the filmmakers for resisting the studio’s calls to add a sex scene between them.)

Jack Nicholson perfectly embodies Jessup’s firm but warped convictions, and his climactic monologue is one of the key moments of his screen career. As the Marines on trial, Wolfgang Bodison is superb as the fiercely principled Dawson and James Marshall convincing as the simple, earnest Downey. Kevin Bacon, Kevin Pollak, Kiefer Sutherland, and J.T. Walsh all excel in their supporting roles; it’s a magnificent ensemble, as smoothly professional as the film itself.

It was rightfully Oscar-nominated for Best Picture, Supporting Actor, Editing, and Sound; unfortunately, Reiner and Sorkin weren’t nominated, nor were Cruise, Moore, or any other members of that fine ensemble. (Reiner, Sorkin, and Cruise did all earn Globe nominations, however.) But what does that matter? However it was received in 1992, it’s a classic today, and a film I can return to time and again.

Score: 94