Directed by:
Tony GilroyScreenplay:
Tony GilroyCinematography:
Robert ElswitComposer:
James Newton HowardCast:
George Clooney, Tom Wilkinson, Tilda Swinton, Sydney Pollack, Michael O'Keefe, Ken Howard, Denis O'Hare, Sean Cullen, Merritt Wever, David Lansbury (more)VOD (2)
Plots(1)
Attorney Michael Clayton is a "fixer," the go-to guy when his powerful New York law firm wants a mess swept under the rug. But now he's handed a crisis even he may not be able to fix. The firm's top litigator in a $3-billion case has gone from advocate to whistleblower. And the more Michael tries to undo the damage, the more he's up against forces that put corporate survival over human life including Michael's. (Warner Bros. US)
(more)Videos (2)
Reviews (12)
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.
()
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.
()
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%.
()
Michael Clayton is another film that seems to come to us through time from a bygone era. I can imagine it being made by Sidney Pollack (great idea to cast him here, by the way) or his namesake Lumet sometime during the seventies, preferably with Robert Redford or Gene Hackman in the lead. But back to the present. What we have here is a simple story that has been seen, read and heard several times, but it is well written, has excellent dialogue and such unique characters that it is a joy to watch. Tony Gilroy's direction is fairly slow (Michael Clayton is thankfully not an action movie), but he comes up with a lot of ideas and many of the scenes (the horses, Arthur's apartment, the cab ride) are memorable. There's also a subtle but atmospheric performance by James Newton Howard... Four and a half.
()
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).
()
Ads