The Fixer is a 1998 crime drama television film directed by Charles Robert Carner, starring Jon Voight, Brenda Bakke, J.J. Johnston, and Scott Bairstow. Tense, brooding, and morally complex, the film tells the story of a man who lives by solving other people’s problems — until his own life collapses under the weight of violence and betrayal.

The story follows Jack Killoran (Jon Voight), a slick and resourceful corporate lawyer who has built a lucrative career cleaning up the dirty work of the powerful. Whether it’s politicians, businessmen, or criminals, Jack “fixes” their problems — covering up scandals, manipulating evidence, and bending the law to protect those who can pay. He operates in a gray zone between legality and corruption, earning wealth and influence at the cost of his conscience.

But Jack’s controlled world begins to unravel when a series of brutal crimes — and his own growing guilt — force him to confront what he has become. His latest client, a ruthless developer, pushes him into moral territory too dark to justify. As violence erupts and the consequences of his past choices close in, Jack must decide whether redemption is still possible, or if he’s already beyond saving.

Haunted by the people he’s wronged and the lives he’s destroyed, Jack begins a slow descent into self-doubt and paranoia. His attempts to make amends only lead to more destruction, and his family — particularly his daughter, Lynne — becomes caught in the crossfire of his professional sins. The fixer who once controlled everything finds himself powerless, trapped in a system he helped build.

Jon Voight’s performance anchors the film with depth and weariness. His Jack Killoran is not a one-dimensional antihero, but a man eaten alive by contradiction — sharp, proud, but quietly unraveling. Through Voight’s subtle gestures and emotional restraint, the character becomes a mirror of moral decay: a man who’s spent his life negotiating other people’s ethics, only to lose his own.

The tone of The Fixer is noir-like — dark, urban, and atmospheric. The cinematography captures the cold glow of city lights, corporate offices, and shadowy backrooms where deals are made and souls are sold. Every frame reinforces the film’s central idea: that modern corruption is no longer loud or bloody — it’s polished, quiet, and institutional.

Thematically, The Fixer explores moral compromise, guilt, and redemption. It asks whether a man who profits from corruption can ever truly atone, or whether some stains are permanent. Jack’s crisis is both personal and philosophical: he wants to do the right thing, but in a world built on exploitation, “right” has lost its meaning.

As the story reaches its climax, the lines between justice and revenge blur. Jack’s attempts to repair the damage lead to violent consequences, forcing him to confront the truth — that fixing others’ problems was always easier than fixing himself. His final choices bring both tragedy and a measure of grace, suggesting that redemption, if it comes at all, demands total sacrifice.