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[A] dogged, busy courtroom drama – a jaundiced rewrite of 12 Angry Men that proceeds to ride roughshod over several plot implausibilities.

[Juror 2 is] a movie for grown-ups with its classy production values, strong performances from a starry cast, and thoughtful themes for viewers who want to be entertained but maybe think a little, too.

Eastwood’s unhurried gaze allows the characters’ humanity to shine through. His style might be simpler, but his generosity as a filmmaker, his willingness to embrace the complex and the open-ended, has never been more evident. Juror No. 2 is a fine entry in a great director’s career.

If “Juror #2” is this all-time-great filmmaker’s last effort, it may come across like a quiet goodbye, measured conversations replacing his oeuvre’s well-known violence and death. But in its relaxed professionalism, it’s still a worthy closing argument for what Eastwood has always cared about most — how we live as much as how we die.

[Eastwood's] finest film in years... At 94, [the director] isn’t interested in pushing the boat out stylistically. It’s a comforting throwback to 1990s courtroom-drama aesthetics – perhaps too comforting... But the plus column is much bigger. He has pointedly made a moral thriller without obvious villains, and considers accountability with no criminal intent as the final test of justice.

Eastwood’s 40th directorial effort, “Juror #2” falls into the category of likely to be forgotten quickly... Jonathan Abrams’s script is so amateurish it feels like a first draft.

Eastwood only gently tweaks the story’s conventional surfaces, yet he infuses it with a bundle of ideas and ideals that turn it both bitterly ironic and ferociously critical.

“Juror #2” is very much the work of an engaged, sensitive director — a series of tight, focused scenes informed by strong performances. There’s something classical about it, old-fashioned in the best way, like a 1974 Coupe de Ville or a 1962 Buick Electra. It’s a smooth, solid ride.

The tautness with which this pulpy, tense, and undeniably curious legal drama has been crafted makes it easy to overlook its often preposterous plotting.

Suspense is kept on a low flame but the film offers cosy pleasures, not least in the jury-room wrangles... Juror #2 wouldn’t be such a bad way for the 94-year-old director to bow out if the film represents, as he has intimated, his final summing up.

Not all of it works... but you can’t deny the ambition even as you begrudgingly acknowledge the wilder swings and fustier exchanges... You can’t accuse [Eastwood] of resting on his laurels.

With his 40th picture as director, [Eastwood] proves once more that he remains one of a small coterie of American conservative artists whose work handily transcends the creative doldrums of the alienating polemic or the hectoring advocacy yarn to couch its challenging philosophical ideas within the knotty tangle of everyday lives.