Michael Clayton

Der ausgezeichnete Anfang mit dem alarmierenden Monolog von Tom Wilkinson und den Aufnahmen des kalten Glasbüros schafft eine Stimmung, die das Publikum gefangen nimmt und bis zu der letzten Aufnahme mit Michael Clayton nicht loslässt. Der Drehbuchautor der Bourne-Trilogie Tony Gilroy hat ein beachtliches Regie-Debüt gedreht und dank der tieferen Dimension die Genre-Konkurrenten Steven Zaillian (Zivilprozess) und Sydney Pollack (Die Firma) überrascht. Tilda Swinton ist famos, Wilkinson und Clooney sind ausgezeichnet. Ein Drama, das stolz die Kategorie "Hollywood-Art" repräsentiert. (21.01.2008)

Cold, distant, and unforgiving. Tony Gilroy is a very wise man who has managed to make his name a trademark, under which he is going to distribute goods of the best quality. You’ll be so chilled by Tom Wilkinson's opening monologue alone that you won't melt until the closing credits. This high-level legal game with lives on the line knocks you out with its formal austerity, which gives ample room for narrative peripeteia and theatrics in which the venerable academy has once again crowned the wrong person. Tilda Swinton spends the few minutes she gets looking like an uptight spinster, and immediately the golden statuettes come tumbling down. But otherwise, apart from the hasty introduction, I have no major complaints. 4 ½ (with the promise of a reunion coming soon). (29.03.2008)

Tony Gilroy. Another in a row of quality screenwriters who let himself be lured into the director’s chair. He wrote a screenplay for himself that focuses on a fascinating topic dissects the psyches of the (a)moral protagonists and that is sophisticated and intelligent. Many mention its similarity to Syriana. It reminds me more of The Firm or Coppola’s Interview. Everything in this movie urges the viewer to try to be a step ahead of Clayton’s investigations. What is the strongest side of this movie? Is it that outstanding screenplay? Or is the truth that sell-out bitch played by Tilda Swinton who long ago smothered any hint of conscience inside her? Or is it Tom Wilkinson and his character who, conversely, is resuscitating his conscience at the end of his career? Or is it George Clooney in the role of the lawyer “Mr Wolf who takes care of bothersome problems" who has experience, ability and, primarily, knows what people are like? Not forgetting that perhaps it is the precise direction. In the end, you reach the conclusion that Michael Clayton has no strongest side. All of his sides are in an unusual symbiosis and serve one single purpose. To make a good movie. And it worked, although it has a fault. And that is the ending which is just ordinary. It’s not bad, not stupid, not illogical. Simply what we’ve already seen so many times before. And in view of the fact that the movie is overflowing with hints, the unsaid, a parallel with a story for kids and even some metaphors, this is simply disappointing. But a niggling feeling that somewhere deep inside the finale there is “something more" provokes a desire to watch it again, after which it will hopefully be possible to give it full a set of stars. Because it just can’t be possible that the result could be so... ordinary. P.S. A month after seeing Gilroy’s debut at the movie theater, I can’t get it out of my head and so I gladly give it full marks. (17.01.2008)

In the face of Clooney's convincing warrior expression and Howard's emotional tones, I may feel guilty with my assessment, but any saving idea, warning finger, or suffocating statement drowns in the inarticulate and yet unnecessarily entangled boredom, which minute by minute increasingly flows towards an unsurprising conclusion. (21.08.2008)

I will not give the highest rating to Clayton, as it is too cold and distanced, but otherwise, it is a thoroughly professionally made and impressive film about the evil in legal and business circles, the power of money, and the unfulfilled ambitions of one unscrupulous manager. The film has a clear storyline, convincing motivation for its characters, an excellent acting cast, and corresponding top-notch performances. In short, it is a world-class film. It is no coincidence that one of the producers was the director of the legendary thriller Three Days of the Condor. Overall impression: 80%. (11.12.2011)

Clayton is like a snowball slowly collecting more and more snow as it rolls on. The beginning is rather boring (despite being polished and realistic), but with added color from the precise background music by James Newton Howard. Clooney is great as usual and Gilroy is too good to let you switch off, and that’s good... at the end all the loose ends tie up nicely. I'm not the guy you kill, I'm the guy you buy! Are you so fucking blind that you don't even see what I am? I'm your easiest problem and you're gonna kill me? (22.05.2011)

A very intelligent and quite cold film that sticks so strongly to genre conventions to the point of being a problem, because a little more excitement wouldn't hurt. Despite Gilroy's attempt to ride the wave of reality, there are a few missteps, like for example, the dream “horse/bomb” scene – that could hardly happen in real life. But this is still a solid legal thriller, thanks to its visually simple and austere execution, with plenty of brilliant dialogues and experienced actors who play strong and captivating businessmen to perfection. Clooney in his mentally toughest role yet, he has forsaken his charming façade, and as a tough negotiator, you believe in him down to the last detail. A high-quality genre film that may not entertain everyone, but is capable of smartly appealing to the audience. (02.08.2008)

Michael Clayton – ein weiterer Film, der so wirkt, als ob er zu uns aus der Vergangenheit gekommen wäre. Es hätte auch ein Film aus den 70er Jahren von Sydney Pollack (es war übrigens eine tolle Idee, ihm hier eine Rolle zu geben) oder Sidney Lumet sein können, und zwar am besten mit Robert Redford oder Gene Hackman in der Hauptrolle. Aber zurück in die Gegenwart. Wir haben hier eine einfache Geschichte, die man schon mehrmals gesehen, gelesen sowie gehört hat. Sie ist aber ausgezeichnet geschrieben, hat hervorragende Dialoge und dermaßen vieldeutige Figuren, dass es Spaß macht, sie zu verfolgen. Die Regie von Tony Gilroy ist langsamer (Michael Clayton ist ja auch kein Actionfilm, Gott sei Dank), sie kommt aber mit vielen Ideen. Eine Reihe von Szenen (die Pferde, Arthurs Wohnung, die Taxifahrt) ist unvergesslich. Dazu spielt die dezente, aber stimmungsvolle Musik von James Newton Howard… Viereinhalb. (10.12.2011)

Michael Clayton was a completely different movie than I originally expected. No lawsuits, no flashy crime story with a shocking final reveal, but a perfectly sober and precise drama with amazing performances. I'm not so much talking about George Clooney, who once again performs to his classically high standard and is more than convincing as a stubborn negotiator suspecting a great deception, but in particular about the deranged Tom Wilkinson and his tiresome monologues, and the lawyer Tilda Swinton, who perhaps still carries a piece of the evil queen from Narnia. And even though I was quite sceptical at first and the plot seemed far-fetched, the slowly unravelling story gradually drew me in and I really enjoyed the final part. Tony Gilroy has made a low-key but very subtle film that is one of the pillars of its genre... (29.08.2012)

A corporate apocalypse with a terrific script, direction, music, and performances. Characters abound and it's not hard to get tangled up in the convoluted story at times. But it's all the more satisfying when you get it back and everything starts to fall into place in you. Add to that the perfect scenes, led by the murder of Arthur Edensen, and the lack of audience pandering, and the rating is clear. And the ending... Anyone who doesn't like this, hop on back to Seagal ;) (13.09.2010)

Excellent performances, and that actually applies to all fronts, a fairly strong storyline, but still I couldn't get into it. The characters are well developed, but I simply couldn't get into the story. It didn't impress me, I didn't connect with it. You can't deny that the film is reasonably well-crafted, maybe just with a slightly dull musical component, but if it doesn't appeal to you, it can be the best and you'll still just endure it. (06.03.2014)

"Master" screenwriter Tony Gilroy proves he's no stranger to directing either, serving up a riveting tale of the rotten legal world, backed by the ultra-appealing Clooney. Elswit's cinematography is incredibly polished, the atmosphere could truly be cut with a knife in places, and the direction is precise and to the point. Thoughtful and professional work all round. (19.04.2010)