The trouble is the movie never really seems to go anywhere. Too many scenes have a feeling of irresolution; they just sort of go on for a while, then disappear.
The Good German (2006)
Tomatometer
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Reviews Counted:145
Fresh:47
Rotten:98
Average Rating:5/10
Consensus: Though Steven Soderbergh succeeds in emulating the glossy look of 1940s noirs, The Good German ultimately ends up as a self-conscious exercise in style that forgets to develop compelling characters.
Rated: 15 [See Full Rating] for language, violence and some sexual content.
Runtime: 1 hr 48 mins
Genre: Dramas
Theatrical Release:09-03-2007
Synopsis: One of mainstream cinema's most tirelessly inventive directors, Steven Soderbergh delivers another big-budget stylistic experiment with THE GOOD GERMAN. This time around, Soderbergh's target is... One of mainstream cinema's most tirelessly inventive directors, Steven Soderbergh delivers another big-budget stylistic experiment with THE GOOD GERMAN. This time around, Soderbergh's target is 1940s film noir. Set in postwar Berlin, the atmospheric thriller is based on the acclaimed novel by Joseph Kanon. Frequent Soderbergh collaborator George Clooney plays Jake Geismer, an American military journalist who has returned to Berlin for the Potsdam Peace Conference. Jake's driver, Tully (Tobey Maguire), appears innocent upon first glance, but is in fact a major player in the corrupt Berlin underworld. He's also dating Jake's former flame, Lena Brandt (Cate Blanchett), whose beauty continues to torment Jake. When Tully's cadaver washes ashore one day, Jake is shocked to discover that nobody wants to go public with the news. As much as he'd like to forget about Lena, he can't. Pretty soon, he's risking his life to help her flee the country. In shooting THE GOOD GERMAN, Soderbergh employed many of the actual filmmaking techniques that were used in the 1940s: black-and-white cinematography, elaborately constructed sets, wide master shots, and a sweeping score (compliments of Thomas Newman). The result is a film that looks and feels like it was made in a much earlier era, yet which contains the graphic language and content of an R-rated early 21st-century production. [More]
Starring: George Clooney, Cate Blanchett, Beau Bridges, Tobey Maguire
Starring: George Clooney, Cate Blanchett, Beau Bridges, Tobey Maguire, Tony Curran, Don Pugsley, Robin Weigert, David Willis
Director: Steven Soderbergh
Director: Steven Soderbergh
Screenwriter: Paul Attanasio
Producer: Gregory Jacobs, Ben Cosgrove
Composer: Thomas Newman
Studio: Warner Bros.
Reviews for The Good German
Interesting to watch, up to a point. The Good German gets lost amidst its references; it doesn't stand by itself but is held up by the films that inspired it.
A history-based, murder-mystery war-yarn that goes round and round in circles.
Soderbergh's attempt to re-create a 40s film noir might not be for all tastes but Paul Attanasio's script keeps the story engaging long enough.
Everything about The Good German seems a few degrees off, as if the new map of Europe has somehow altered the latitudes along with attitudes.
The Good German is a mechanical movie, pushing forth in a way it believes appropriate rather than finding a natural flow.
If it weren't for a singular, gripping performance by Cate Blanchett, The Good German might as well have been titled The Incredibly Boring German.
The Good German suggests that they can still make 'em like they used to, but also reminds us that there's more to a good movie than good looks.
Still-relevant political observation...[and] a nifty mystery that's a bit too self-conscious for its own good.
There's nothing going for the movie, really, except its ambition -- its heavily marred, totally unrealized ambition.
Much like a horror movie clone, The Good German looks like Casablanca, but seems to be missing something fundamental underneath it all, that will eventually lead to its horrible destruction.
It should have been wonderful -- a delicious tribute to classic Hollywood -- but it simply doesn't come off.
Of The Good German, it can be said that the operation was a brilliant success, even if the patient is not merely dead but most sincerely dead.
The Good German plays like Soderbergh's doctoral thesis for film school. But look past the honkingly loud geek factor, and it still works.
The Good German is a self-serving act of fetishistic virtual embalming, with all the liveliness that description implies.
The Good German cannibalizes the cool, cynical look of those great old movies, but it's too spiritually vacant to duplicate their soul.
Soderbergh wants us to see post-War Berlin as, in its way, another Chinatown a la Roman Polanski.
Soderbergh is out to dispel the phrase, 'They don't make 'em like they used to,' and he mostly succeeds.
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