(On Cable TV, October 2016) I’ve complained about this before, so feel free to tune out as I once again complain about the disappearance of the bid-budget realistic thriller in today’s spectacle-driven cinema. A movie like The Firm, adapted from John Grisham’s best-selling novel, focusing on realistic elements and featuring a bunch of well-known actors would be a much tougher sell twenty years later. And that’s too bad, because there’s a lot more to like here than in an umpteenth dull fantasy movie going over the same plot points. While I don’t claim that The Firm is a work of genius, it’s a solid thriller aimed at post-teenage audiences. It did pretty well at the box office, and it’s not hard to understand why in-between good actors such as Tom Cruise, Gene Hackman, a bald Ed Harris, Jeanne Tripplehorn and Holly Hunter working at their peak (with surprising appearances by pre-Saw Tobin Bell as an assassin and Wilford Brimley as a notably evil character) and a story that needles both organized crime and government. The thrills may not feel pulse-pounding by today’s standard, but the film makes up for it through semi-clever plotting, a good handle on the revelations of its material and protagonists sympathetic enough that we’re invested in them rather than the action itself. If I sound like a cranky old critic bemoaning the state of current cinema, it’s largely because The Firm is both an exemplary piece of early-nineties filmmaking and a contrast to today’s similarly budgeted films. It’s got this particular pre-digital patina, a serious intent and actors being asked to actually act throughout the film. I’m not as pessimistic about 2016 cinema as you may guess from this review, but I could certainly stand a few more of those movies today.