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The Good German (2006)
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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: R [See Full Rating] for language, violence and some sexual content.
Runtime: 1 hr 48 mins
Genre: Dramas
Theatrical Release:Dec 15, 2006 Limited
Box Office: $891,721
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.
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Reviews for The Good German
They don't make 'em like they used to, and The Good German is a very good reason why.
There's a line between homage and mimicry, and Soderbergh has crossed it.
If you can manage to reset your internal clock to the '40s, you might find enjoyment here; but that's a pretty big if.
t's no secret that Steven Soderbergh is in love with film noir thrillers of the 1940s, but to use that style with "The Good German" proves a disservice to both the craftsmen of 60 years ago and Joseph Kanon, whose novel the film is based on.
[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.
Although Soderbergh's old-fashioned film noir style works well in 'The Good German,' the characters and story fail to grab us.
The Good German isn't very good. Even if you give it points for sheer cussed weirdness. Which it has aplenty. And which contributes more problems to the project than its worth.
Casablanca is so explicit a reference in the movie’s finale that it drew nervous giggles from the film-savvy audience with which I saw the movie.
No matter that it's based on a book, the movie is more about how the reality of the time was seen through the lens of a Michael Curtiz while he was filming "Casablanca".
It's experimental, so conduct an experiment of your own: go see the film, and when you wake up at the end, try to remember if you dreamed in black-and-white or in color.
Soderbergh has been having a helluva time matching his ambition with quality lately
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.
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