There is not a single human emotion that this film does not bring out.

Rating: 8/10 (29 October 2000)

I actually watched last year's 'The Green Mile' before I got round to seeing this. And in many respects I'm glad. This film is better constructed, has a far more powerful script, and, most tellingly, a far more belivable story (the Green Mile dabbles in the supernatural and improbable). What makes this movie so good is that it really deals with the psyche and emotions of humanity, and isn't scared to go into detail with these emotions, even if it means that the plot is sidetracked for a few minutes. The male bonding throughout the film is touching, and (although sentimental) completely believable. The twist, although not quite as surprising as the 'Usual Suspects', adds a little bit extra to a plot that before was pretty much at the mercy of Morgan Freeman's narrative, which, while well delivered, all gets a bit similar after a while. I think the biggest achievement here is, apart from the bread and butter stuff like 'solid acting', 'sensitive direction', and 'breathtaking photography', is just how well the movie shows its time scale. The story is based over 20 years, charting the 'prison career' of an innocent man, and apart from the greying of Freeman's hair, it also features a lot of nostalgic conversations. Two tragedies among the group of friends that we watch also give a sense of perspective. At the centre though, are Freeman's brief meetings with the prison board, asking for a release every ten years. As he delivers the most moving part of the film- his third speech to this board, I guarantee you will be weeping buckets. The first movie I ever watched that meant so well as to be 'beyond criticism' was 'Schindler's List'. This is the second.