George Clooney, a 21st century actor, playing a part in the 1940s, in a film done in the style like the 1950s. An interesting combonation, but does not seem to live up to his best works.

Wonderful use of the black and white cinematography, and the u... (read more) George Clooney, a 21st century actor, playing a part in the 1940s, in a film done in the style like the 1950s. An interesting combonation, but does not seem to live up to his best works.

Wonderful use of the black and white cinematography, and the use of light and shadows. It is a shame that many films are no longer done this way. Yet again, the style has out lived it’s use, and is hard to go back to a style that many film lovers do not respect or understand it’s true meaning.

For their 5th film together, director Steven Soderbergh and George Clooney made a war film based upon Joseph Kanon's novel, but it would be a throwback to the war films of old, made under the old Hollywood studio system in the 1940's, in black and wh... (read more) For their 5th film together, director Steven Soderbergh and George Clooney made a war film based upon Joseph Kanon's novel, but it would be a throwback to the war films of old, made under the old Hollywood studio system in the 1940's, in black and white as well. It's a bold idea, and it looks as if it might work at one point, but it could have benefitted from a better plot. Set in the days after the end of World War II in Berlin during the Potsdam negotiations between Churchill, Truman and Stalin, American war correspondent Jake Geismar (Clooney) finds himself investigating the sudden murder of his driver Patrick Tully (Tobey Maguire), who was involved with the black market and was in posession of 100,000 German reichsmarks. Plus, he was in league with Geismar's old flame Lena Brandt (Cate Blanchett), a German Jew whose husband Emil Brandt (Christian Oliver) is being searched for by Soviet and Allied forces in Berlin. It's a complex film, and it differed from the book alot, when it didn't really need to. The cast are all top-notch, and the decision to film it on equipment used in the 1940's and on Hollywood studio backlots was a brave idea. But, it could have been alot better, the plot is confused and the characters aren't really identifiable straight away. Better luck next time Steven... :P

Nice attempt at a modern noir based on the same sort of tempalte as the third man. Good performances all round but it dosen't quite catch the tone and as a result comes across a someone playing at making a noir on occasions.

Black and wihite, now that's different; reminiscent of the old black and white mystery movies of the 30's and 40's. Well acted by Clooney, althoug the story itself I found a little dry.

A decent stylistic attempt (throw back to 40's & 50's black & white films) by Soderbergh about an American journalist's attempt to win safe passage for his former German "the good german" lover and the secrets of her past life. Toby McGuire does a gr... (read more) A decent stylistic attempt (throw back to 40's & 50's black & white films) by Soderbergh about an American journalist's attempt to win safe passage for his former German "the good german" lover and the secrets of her past life. Toby McGuire does a great job being a super bad ass.

I liked it. I think Cate Blanchett is the best part of the movie. Fantastic acting on her part. Love that it's Casablanca-ish in style. Love the actual post WWII footage and I love the 'darkness' & the use of shadows. Very mysterious that way. It's a... (read more) I liked it. I think Cate Blanchett is the best part of the movie. Fantastic acting on her part. Love that it's Casablanca-ish in style. Love the actual post WWII footage and I love the 'darkness' & the use of shadows. Very mysterious that way. It's an interesting plot and Clooney's not bad to look at either. Poor guy is always getting his ass kicked though! Oh and I still HATE Tobey Macguire. Yep, there's a "here's looking at you kid" moment -- sorta! Great little twist there....

I disliked this movie from the outset. I made it through only about 30 minutes. All style, no substance. And the characters' performances were excruciatingly remote. The script was no help.

Technically stunning but narratively and thematically hollow.

Steven Soderbergh is usually an inspired chameleon, perfectly suiting his style to his content. But The Good German is an ambitious miss.

[Soderbergh] has such a gusto for movie history that he all but forgets that the films to which he pays homage were not themselves exercises in pure style.

This is Soderbergh's show, and a haunting and hypnotic show it is.