Maxwell Edison

Maxwell Edison’s “Laws of Man” (2024) is one of those movies that kinda sneaks up on you. You walk in thinking it’s your run-of-the-mill legal drama, and then—bam—it just flips the table halfway through. The whole thing follows this high-strung, borderline genius lawyer, Alex Crane, who’s obsessed with winning cases, not because he cares about justice or anything noble, but mostly because he’s addicted to the rush of beating the system. His personal life’s a mess—surprise, surprise. He’s got a kid he barely sees, a partner who’s basically given up on him, and an office full of people who either worship him or want to stab him in the back. The plot really gets juicy when Crane takes on a case that looks standard at first but spirals out of control. The defendant? Some tech whiz accused of a crime that’s almost too perfect to be believable. And suddenly, Crane’s whole world starts to unravel: evidence goes missing, his own team starts acting weird, and he can’t trust anyone, not even himself. Every win just digs the hole deeper. The script totally nails the paranoia and stress of the job, but it’s also got these weirdly funny moments—like, out-of-nowhere dark humor that’ll catch you off guard. By the end, you’re questioning who’s actually pulling the strings here. Is Crane the hero, the villain, or just a pawn like everyone else? It’s messy, complicated, and, honestly, it kinda sticks with you after the credits roll.