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We only get to peek her peaks in this film, and the same goes for The Strange Vengeance of Rosalie (1972) wherein Bonnie's nip slips out of an ill-fitting bra. Bedelia stealias the screen in 1970's Lovers and Other Strangers by letting her sweet sacks hang out in bed. We get a way better look at her rack in Then Came Bronson (1969), both a television pilot and a feature film in which both of Bonnie's Bs (Cs?) are featured on a beach. A brief profile glimpse of the balcony occurs in The Gypsy Moths (1969) when Bonnie attempts and fails to wrap the protrusions in a robe. Not only is Bonnie every bit as pretty as Macaulay was in his prime, but she carries herself with a tremendous thrust of frontal shelf. She reached her widest audience playing the hard-nosed, soft-sweatered wife of Bruce Willis in the first two Die Hard (19) movies, but her biggest claim to tabloid fame might be that she is the aunt of lapsed child actor Macaulay Culkin. Judicial Consent is too obvious and too conscious of its genre.A bountifully chest-blessed frosted brunette, Bonnie Bedelia has been stealing scenes since the 1960s. As Martin, gifted character actor Coleman is wasted in an unrewarding role, while Wirth mostly acts on his handsome looks as the stranger with a “mysterious” motive. Patton, who is usually brilliant in small offbeat roles, is miscast here in the underwritten role of the bland husband we never get a sense of the kind of marriage the Warwicks have. Lawyers, particularly women, might find offensive an erotic scene under the table in Gwen’s office, reaching orgasm while negotiating an important assignment on the telephone. 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 story’s characters.īedelia gives a dominating performance, but the woman she plays is too intelligent and too bright to behave in such 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 fine-tuned dialogue and unanticipated revelations, but Bindley’s writing, specifically in the court sequences, is borderline banal and the disclosures made not 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 and planted case, resulting 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 his murder case. Seemingly curious and sexually unfulfilled, one night she follows Martin (Billy Wirth), a sexy law clerk, into his office and a steamy affair evolves, though she knows nothing about him. Gwen Warwick (Bedelia) is a stern, accomplished criminal court judge, soon to be appointed to the Michigan State Supreme Court. As such, it’s best suited to the tube with good prospects on video. Its star, the graceful Bonnie Bedelia, does an honorable job, but the film’s “B” plot and its lack of sustained suspense make it just another generic item.
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Judicial Consent aspires to belong to the league of suspense thrillers about female lawyers, like Jagged Edge with Glenn Close or Cher’s vehicle, Suspect.