J.K. Simmons

In Juror #2 (2024), J.K. Simmons sits among people who would rather go home and makes a retired detective’s curiosity feel dangerous. His Harold cannot stop investigating, and Simmons does not need to raise his voice to suggest how much trouble that could cause. Clint Eastwood gives him a jury room in which attention is an inconvenience. The performance gives a creaky premise some welcome tension.

His television breakthrough in Oz (1997–2003) established the menace early. Sam Raimi’s Spider-Man (2002) brought wider recognition as J. Jonah Jameson, a part to which he has repeatedly returned. That familiar casting as bosses, teachers and other men in charge is only part of the work. In Juno (2007), his supportive father Mac McGuff offers a warmer use of the same certainty.

Then Whiplash (2014) brought a major critical breakthrough, and the risk of repeating himself. He declined subsequent scripts that offered more berating characters. The danger of that casting is that an audience starts waiting for the reprimand rather than watching the man, however well the part is played. His quieter work for Eastwood is a good reason not to treat shouting as his principal skill.

Jake Kasdan’s Red One (2024) gives him another authority figure, Nick, a Santa Claus who lifts weights and remembers every child’s name. Simmons plays the decency without a wink, which is more commitment to Christmas than the film around him can manage. We were irritated by Red One, because his unembarrassed kindness kept showing us what was missing whenever he left the screen. He is the reason to stay if the film is already on, but he cannot make its long, joyless rescue operation worth recommending. For an evening with Simmons, choose Juror #2; tolerate the creaks in the premise and watch how little he needs to do.