Good Night, And Good Luck Reviews

Forgetting the flaws stylistically moves to the relevance of the film, which seems 100%. The performance of David Strathairn as our key character matches up directly with the image that comes to mind when we try to imagine a 1950s broadcast journalist: straightforward and strictly serious. Furthermore, there is the smoking, which in this film, may be a bit too noticeable. If one were to gather this filmâ(TM)s entire ninety minutes and splice out every second that did not present cigarette smoke wafting its way through the air, I guarantee the spliced-out footage would not add up to a mere sixty seconds. The fact that the more recent MPAA certified such a smoky with a PG rating and failed to include the word âsmokingâ? in the explanation, is purely ridiculous.

A brilliant depiction of a controversial chapter of American history. Wonderful direction quick script and an excellent performance by David Strathairn. Contains tiny little flaws such as; parts of the plot are a little unclear-other than that well worth the watch.

"We will not walk in fear of one another."

Broadcast journalist Edward R. Murrow looks to bring down Senator Joseph McCarthy.

REVIEW
Good Night, and Good Luck is a brilliant piece of film making, a film that recreates a period in American history when gossip mongers and fear exploiters took the lead for a terrifying few years that threatened to extinguish civil rights forever. Not unlike now! And that is one reason this film carries so much resonance: the story of the bravery of popular news reporter Edward R. Morrow (David Strathairn) and his associates Fred Friendly (George Clooney), Joe and Shirley Wershba (Robert Downey, Jr. and Patricia Clarkson), William Paley (Frank Langella) and the crew at CBS is one that begs for re-creation in the way the news is reported, analyzed, and serves the rights of the public to be truly informed.

The story is the 1950s McCarthyism Communist Hunting that terrified the country unchecked until Morrow et al challenged the Senator's accusations and methodology by simply quoting the statements McCarthy made in the television series See It Now. Morrow and his associates did not elect to smear McCarthy: they instead elected to bring to the public's quivering attention just what the sick mind of McCarthy was doing to innocent people. It was an act of bravery on Morrow's part and on the part of everyone connected with See It Now.

George Clooney continues to impress as a quiet, subtle voice who doesn't seek the limelight for his brilliant mind, but rather uses it to enter the arena of emerging patriots - the good kind. He wrote the script with Grant Heslov after much research and investigation and then gathered a gifted crew of actors (including himself) and directed the film using the atmosphere of black and white photography (credit cinematographer Robert Elswit) in the almost exclusively interior claustrophobic set of the television station to give the ring of honesty that pulsates this story to its powerful end. Strathairn is brilliant as Morrow, but then so are all the cast members in this ensemble effort.

An interesting study into serious journalism with the sparring over ideas between the articulate broadcaster Edward Murrow and commie-hunter Senator McCarthy and Murrow's belief in the importance of airing such information rather than using television to distract, delude, amuse and insulate us. Other than that the story is pretty thin and the drama somewhat lacking, a bit more docu than drama.

I really enjoyed this film, though I'm starting to think that I waited too long to review it, because why I liked it is already fading away. I think mainly, it was its sparseness, and its flawless hearkening back to grand old Hollywood - a feat that even the Coens couldn't achieve when they dabbled in black-and-white.

Above all, it told another side of the story of McCarthyism, a dark period in American history. The freedom of the press is always an exciting battle to watch, and in this film, George Clooney sounds the right note. Not a mind-blower, but definitely worth seeing.

"Good Night, and Good Luck." is a docudrama, a historical document and a thriller. It's shot in glorious black and white but it's the small directorial flourishes (George Clooney is a tour de force director) and lens work (the great Robert Elswit is DP) that make the film visceral and immediate. The themes of government, censorship, media and character assassination are all still extremely relevant today, making the film, which is set in the 1950s, feel as modern as anything currently at the cinema. The acting is top notch with David Strathairn, obviously, standing out. This is a unique, enthralling, miracle of a movie.

This movie was astonishing, how they can take us through history in a newsroom

I loved the use of found footage combined with performance based footage. It's really interesting to see the two interact, especially when it's such a memorable time in history. While at times this can feel drawn out, I really do think it has a great message about American Freedom. It thrives on its performances and it delivers on that for the most part, but I really didn't find Jason Strathairn to be all that good. However, Robert Downey Jr. and George Clooney are good enough to compensate for that issue.

Historical Journalism At It's Best. An historical story of one man's struggle against evil, 'The only thing for evil to prevail is if good men do nothing'. A film that is neither Left nor Right, but rather about good journalism. The ultimate quest for TV to be informative not just entertaining.

Gorgeous looking perod piece that perfectly nails the look, feel, and atmosphere of news networks in the 1950's. Like, Network, this film makes statements about televised news and information, its power, and how television can either make us zombies, or help us. Unlike Network though, this film is not a satire, but a snapshot-a beautiful portrait on tense times. I'll admit, my attention drifted here and there, but that does not mean Clooney is at fault. It doesn't fee lke it, but there is a plot. It hardly matters though, because this film could be nothing but images and it would still be great to look at.

George Clooney?s second effort at directing suffers from three big problems, any one of which could scupper such a film in the hands of someone less experienced. The first problem is the jarring effect of using stock footage of Joseph McCarthy, in the absence of an actor playing him. Even with the film being shot in black and white to take the audience into the 1950s setting, the overall result is compromised. Just as in Frost/Nixon?s opening credits there could have been actors playing those tried at the Watergate hearings, so there is no real excuse not to have an actor playing McCarthy. Without this the film can never be truly immersive; the audience understands that something serious is happening, but can never quite connect with it.

The second problem is that many of the supplementary characters are never properly developed, making the film seem even less believable. Outside of the relationship between Edward R. Murrow (David Strathairn) and his producer Fred Friendly (Clooney), the other characters are never properly explored. We never feel entirely sorry for Ray Wise?s character, who commits suicide after being accused of being a ?pinko?. Neither do we completely care about the secret marriage between Robert Downey Jr. and Patricia Clarkson, both of whom have proved themselves to be talented actors (in Chaplin and The Green Mile respectively).

The film would have worked much better as a more claustrophobic thriller. Perhaps it could have been a real-time re-enactment of one of Murrow?s most important shows, or simply consisting of conversations between Murrow and Friendly on the set, conversations which seem mundane but which are actually politically significant. The film as it stands is by no means terrible, but there are so many different ways of making a political film these days, and this film does not always justify its large cast.

The third and most difficult problem with the film is its political standpoint. The points it makes about freedom of speech and manipulation of the media are all well and good, but at certain points in the script one begins to suspect that Clooney is using this film as a mouthpiece to his own views. Not only is the representation of Murrow highly hagiographic, but the film is bookended by a speech of Murrow?s four years after the fall of McCarthy, warning against television simply being a medium of entertainment. It?s not just that these warnings resonate with our society, but that Clooney shapes the dialogue in such a way that he?s almost giving you a lecture ? one which we?ve heard too many times for it to have any profundity left.

On the up side, the film is very professionally shot, with some stylish visuals and a plot which is arresting. David Straithairn plays Murrow with a barbed sense of grace, a man with a face of dignity who could snap at any moment (and indeed he does, in his brief scenes with Frank Langella). It?s not quite as good as his performance in The Bourne Ultimatum, but it?s a career highlight nonetheless.

Ultimately the film is well-directed by Clooney and is a good introduction to both the figure of McCarthy and to the nature of 1950s society. In fact, that is the role which this film should serve, as a way for the audience to dip their toe into a political and social climate which has fascinated filmmakers as far apart as Sam Mendes (Revolutionary Road) and David Lynch (Blue Velvet). As a political film, it?s highly flawed, but it will remain an important film in years to come, if nothing else because of the reputation, both cinematic and political, which its writer and director are rapidly forming.

This is a story about how the world changed drastically in the 1950's. It?s subtle but this is one of the biggest things to have happened in the last 100 years. Government used to rule but now the press does, you can?t help but think that this story has a lot to do with that. Do you think Clooney released this during the problems in Iraq on purpose? I think this film says a lot more than you might think. It?s also beautifully filmed with some great performances.

This is a thoughtful, intelligent drama, very well written and executed. George Clooney and co. masterfully recreate the atmosphere of the McCarthy era; there is a palpable fear throughout. The pace does crawl at times, yet that doesn't detract from the story. Strathairn's Murrow shines brightly through the ever-present cigarette smoke, and I also enjoyed Langella's William Paley immensely. Seeing him here after recently viewing Frost/Nixon reinforces that my appreciation of his talent. I love Robert Downey Jr. and Patricia Clarkson; I'd liked to have seen more of them in this movie. The Liberace footage had me laughing out loud. Its an excellent addition, and it cleverly illustrates what Murrow had to endure in order to keep his job.

I feel that I must comment on the timing of this film. It is no coincidence that an anti-McCarthy movie was produced by the Hollywood left in light of their disgust with or loathing of the Bush administration's tactics in the war on terror. Although I believe that Hollywood should avoid overt political statements, as an historical recreation, this film succeeds impressively.

george clooney has always been known first and foremost as an actor. however, this film seems to suggest that he should make the switch to directing. good night and good luck is a brilliant adaptation of a true story, giving an inside look into Mr Murrow and his legendary televised attacks on general mccarthy.

I'm sorry but the guy that was the crappiest Batman in history shouldn't be directing films this good. George Clooney has outdone himself with Good Night and Good Luck. The film is the story of Edward R. Murrow (David Stathairn) and his staff going on the offensive against Sen. Eugene McCarthy's communist witch hunt.

This film is Strathairn's film. As Murrow he is absolutely brilliant, puffing away at camels while trying to be above the mindless bickering and the decline of news and information to the likes of the $64,000 Pyramid. Murrow is the Babe Ruth of TV newsmen and Stathairn's performance captures that on screen. Clooney joins the fun as Murrow's producer Fred Friendly giving us a fine performance.

After watching this film I wonder what Murrow would think of todays television with its partisan tickers scrolling on screen and women impregnating themselves to get on Dr. Phil. Yep, probably a good thing he's dead.

Georgle Clooney's second film as a director gathers an excellent cast to tell the story of the CBS news team that took down communist hunter McCarthy in the 50s. Shot in black and white and almost filmed like a theater piece, mixed with real footage from back then, this is a rather calm and slow film, delivering powerful arguments between the political opponents. In the end it's a bit anticlimatic, but still interesting to see and with important messages concerning the power of journalism and free speech. I just expected a bit more.

A teriffic film. The writing, acting and the directing are superb. Director, George Clooney crafts a beautiful cinematic triumph. A film that gets it right. Very intelligent, teriffic and adult performances by the enire cast. David Stratherin and George Clooney are brilliant. Stratherian gives a well performed, compelling and intelligent performance. A wonderful, intelligent and beautifully filmed political drama. A truly unique, utterly original and very mature movie.

If this movie were an advertisement for the tobacco industry, then it would be an automatic 5 stars and have it's own section here on Flixster. However it's not. What it is, is a seriously one-sided story against the false 50's preaching of Joe McCarthy against the morbid threat of Communism. David Strathairn should've won every singel award known to man for his portrayal of fed-up TV icon Murrow and easily trumps co-star and director Clooney, who is himself wonderful as well. Alongside these two are the surprising Robert Downey, Jr, who I was not even aware was in the movie (despite him being listed on the fucking front cover), the vastly underrated Jeff Daniels, and Ray Wise, who portrays Murrow's increasingly paranoid friend and fellow newsman Don Hollenbeck. So...you have Harry Dunne, Leland Palmer and Iron Man in this film. What's not to love?

Edward R. Murrow: GOOD - Joseph McCarthy: BAD. There I just saved you $10.

A riveting look on the McCarthy affair of the 1950's. Strathairn is exceptional as Edward R. Murrow, a broadcaster for CBS who fights against the random communism attacks started by McCarthy in the early 1950's. The only negative is that Downey Jr. and Clarkson don't work AT ALL as a married couple, but luckily this doesn't completely destroy the movie, which is rather short and ends on a more abrupt note, but still definitely worth a check out.