Paul Haggis
The Next Three Days

Is it an injustice or not what led Laura Brennan to prison? Was she really the one who committed that murder? Her husband John (Russell Crowe) is convinced of her innocence and will try to help her, until the very last second...

The plot doesn't have any particular twists in Paul Haggis's latest cinematic effort, his fourth feature film. An experienced filmmaker, the Canadian Haggis had already directed important films like "Crash" (which earned him 3 Academy Awards), and the political drama "In the Valley of Elah." Two interesting works followed by "The Next Three Days," released in Italy in the spring of 2011. A film initially labeled as an action movie without prompts, which, at least according to much of the criticism, had in the figure of Russell Crowe its greatest appeal. The reality is a bit different.

Leaving aside a rather familiar storyline (although it has several non-negligible twists), Haggis's film not only focuses on the spectacular aspects but rather lingers a lot on the psychological characterization of the protagonists: particularly on the resolute John, with his extreme idea of attempting an impossible breakout to free his wife. John becomes fierce, determined to perform an act that will change his life for better or worse: but this new strength contrasts with his non-aggressive nature, that of a perfectly ordinary family man. A temperament that often leads him to help others, to think a thousand times about each single action. This indecision, or rather fear, will clearly emerge during the film's narrative development.

Perhaps it is precisely in this "dramatic" charge and still not quite like an "action movie" that many have identified the film's weak point. In reality, "The Next Three Days" is a thriller with multiple nuances, shot impeccably, possibly only too "cold" in some sequences. But on the other hand, Haggis himself has always said he is primarily a screenwriter and then a filmmaker. In fact, even in this case, the screenplay works better than the direction. A simple and at the same time brilliant element of the plot is the intention to keep Lara's (played by Elizabeth Banks) real guilt hidden until the end. A trick that works wonderfully and keeps the film engaging until the end, despite perhaps an excessive length. It's a pity that this nice idea is largely "ruined" by a finale that wants to reveal to us at all costs how things actually went, removing imagination and uncertainty from the viewer. But ultimately, it is not a simplistic conclusion, there is not so much sentimentality in the final shots. Roles have just been reversed, in a play of emotions, feelings, guilt...