Judicial consent desk scene
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August Professor of Law, Brooklyn Law School. * Visiting Professor of Law, Boston University School of Law (Fall 2017) Visiting Professor of Law, University of Texas School of Law (Fall 2016) Stanley A. And it takes a first step in imagining a space in which citizens would have the ability, without repercussions or recrimination, to talk back to the police, to ask why and how come, to assert their rights, to question and test the boundaries of the law, and to say “no.” At this time-when the criminal justice system is the primary civics education for so many individuals, when so many criminal procedure opinions are also on a certain level race opinions-the Court’s citizenship talk may very well further inequality. These concerns alone should be reason enough to question the Court’s citizenship talk.
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Criminal Procedure and the Good Citizen surfaces this aspect of the Court’s criminal procedure decisions to explore a series of questions about the nature of power, participation, and citizenship today, especially with respect to the police. Read between the lines, and the Court’s “citizenship talk” also dictates how a good citizen should behave, move, and even speak. Embedded in the Supreme Court’s criminal procedure jurisprudence-at times hidden in plain sight, at other times hidden below the surface-are asides about what it means to be a “good citizen.” The good citizen, for example, is willing to aid the police, willingly waives their right to silence, and welcomes police surveillance.
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Movies that know how to mix the dangerous and the erotic often make edgy, highly diverting thrillers, but “Judicial Consent” is too obvious and too conscious of its form.There is an aspect of criminal procedure decisions that has for too long gone unnoticed, unrecognized, and unremarked upon.
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As Martin, gifted character actor Coleman is wasted in an unrewarding role, while Wirth is there mostly to look good as the stranger with a “mysterious” motive. Will Patton, usually brilliant in small, offbeat roles, is miscast here in the underwritten role of Gwen’s bland husband we never get a sense of the kind of marriage the Warwicks have. For instance, lawyers, particularly women, might find offensive a sex scene in Gwen’s office in which she’s shown reaching orgasm while negotiating an important assignment on the telephone.
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Dark lofts, swinging doors, empty parking lots and so on are all nicely handled, but they’re also familiar to an audience that always seems to be ahead of the pic’s characters.īedelia gives a charming, dominating performance, but the woman she plays is too intelligent and too bright to behave in such a senseless manner. Though a first-time helmer, Bindley gives his picture a smooth and polished look, displaying some mastery over the genre’s tricks - and visual cliches. The courtroom format relies heavily on finely tuned dialogue and unanticipated revelations, but Bindley’s writing, specifically in the court sequences, is borderline banal and the disclosures aren’t particularly suspenseful. Realizing she’s been set up, Gwen begins a desperate race against time to prove her innocence. Soon, what seemed “circumstantial” evidence turns out to be a well-planned murder, with Gwen as the prime suspect. When Gwen’s roguish colleague, Charles Matron (Dabney Coleman), “a chronic flirt,” is found dead in his office, she’s asked to preside over the case.