Cast: James Spader, Kyra Sedgwick, Helen Mirren, Albert Brooks, Margo Martindale, Jeffrey Wright, Philip Bosco, Colm Feore
Director: Sidney Lumet
Producers: Steven Schwartz and Sidney Lumet
Screenplay: Steven Schwartz
Cinematography: David Watkin
Music: Michael Convertino
U.S. Distributor: Live Entertainment
Critical Care is a daring motion picture that tries to tread the difficult line between biting satire and affecting drama. Had it successfully navigated this treacherous trail, it would have been a powerful motion picture. But, because the drama turns out to be half-baked and poorly-realized, the result fails to satisfy. Critical Care raises a number of important issues and asks more than one incisive question, but the only time it makes a lasting impression is when it's lampooning. The serious aspect of the movie is a brave failure.
The central theme of Critical Care is that there's an unbreakable link between the quality of medical care and the level of a patient's insurance. Is this revelation surprising? Certainly not, but the manner in which veteran director Sydney Lumet approaches it drives home the point. Lumet's satirical barbs are unrelenting, and they find their two primary targets: a hospital's desire to keep terminally ill patients alive while they're fully insured and a doctor's reluctance to touch a patient without coverage. Those who have had a frustrating experience with the health care system will find themselves nodding frequently during Critical Care.
The main character is second year resident Dr. Werner Ernst (James Spader), a hotshot who lives a life consisting of "prodigious sex and no sleep." Although his conscience is occasionally pricked by some of the dubious goings-on at the hospital where he works, Werner has no desire to upset his bosses, so he keeps his mouth shut and does what he's told. Then he becomes trapped in the middle of a feud between the two daughters of a dying man named Potter (Bruno Dressler). The younger, prettier daughter, Felicia (Kyra Sedgwick), is convinced that her father is a vegetable and would be better off removed from life support. Bible-thumping Connie (Margo Martindale), however, believes that her father's existence should be prolonged at all costs. Werner's position becomes tenuous when he enters into a sexual relationship with Felicia, only to discover that she may have ulterior motives for wanting her father's suffering to end. But what does the patient want, and who safeguards his wishes? Soon, Werner finds himself as a defendant in a lawsuit where he's being subpoenaed as a witness for the plaintiff.
The two moral poles in Critical Care are represented by a pair of supporting characters. Stella (Helen Mirren), a nurse who works with Werner, genuinely cares for each of her seriously ill charges, and always puts their needs above all else. When a patient pleads with her to let him die, she becomes determined to find a way to fulfill his desire. On the other hand, there's Dr. Butz (Albert Brooks, barely recognizable under layers of old age makeup), the alcoholic emeritus chairman of critical care, who believes that if a patient has full insurance, he should be kept alive at all costs. That way, countless meaningless procedures can be performed on him to increase the hospital's revenue stream. In Butz's words, "You don't need a living will [to exercise the right to die] - just don't put any money into health care insurance." Likewise, Butz discourages performing any medical procedure on someone without coverage, no matter how desperately they need the help - he doesn't believe in offering freebies.
Critical Care's forays into black comedy are effective. However, the melodrama focusing on Werner's moral dilemma about whether or not to let Potter die is less involving, and features a legal hearing where Werner makes one of those heartfelt, over-the-top speeches. Although I was somewhat interested in Werner's story (or, more specifically, in how he extricated himself from his mess), I was bored by Stella's relationship with a terminally ill young man. A series of visions featuring a messenger from Hell (Wallace Shawn) and one from Heaven (Anne Bancroft) doesn't serve much purpose beyond extending the running length.
The performances are as variable in quality and consistency as the story. Playing a part that doesn't require much of a stretch, Spader settles into comfortable territory with his portrayal of a morally-confused young man. While not overwhelming, Spader's work is effective enough to allow us to sympathize with his character. Meanwhile, the always-reliable Helen Mirren is solid as usual, despite limited exposure, and Albert Brooks is simply brilliant. On the other hand, I wasn't impressed by either Kyra Sedgwick or Margo Martindale, both of whom seem (intentionally?) artificial.
Admittedly, Critical Care asks the kinds of probing questions that can result in hours of lively post-movie discussion, and, in one sense, that makes it an intriguing choice for a night out. The problem is that the movie itself is less interesting than the issues it attempts to explore. I give Lumet points for trying the blend of hospital-based satire and drama; it's too bad he doesn't quite pull it off.
© 1997 James Berardinelli