Michael Clayton - Movie Reviews - Rotten Tomatoes

Michael Clayton Reviews

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February 12, 2018
Disappointed in the lack of character development but damn, that ending is good.
½ January 31, 2018
Very strong movie; beautifully written and acted. Not sure why audience score isn't higher. I guess if you're looking for mindless, disposable entertainment, this won't be your bag, but it sure is an excellent film.
January 23, 2018
Smart and elegant, 'Michael Clayton' is a well-scripted legal drama that shows off Clooney's wide acting talents and Tom Wilkinson's chilling and intense acting. This is a top-notch conspiracy thriller and a definite masterpiece by Tony Gilroy.
December 28, 2017
I enjoyed the movie quite a bit, though the break in the continuity of the movie should have been done better. I also found the car bomb scene a little scant in believability. Overall, pretty good though.
December 28, 2017
3/5. For a movie about a fixer, Michael Clayton doesn't fix much. This film is one I really wanted to love, but I just can't. The story isn't interesting enough and I've seen far superior legal thrillers. While Michael Clayton is an ok film, it isn't much more than that.
December 28, 2017
This movie went nowhere. It was slow and boring.
December 9, 2017
One of Clooney's best roles.
½ November 17, 2017
Excellent. My favourite Clooney movie. Tilda Swinton, as usual, is stunning. As is Wilkinson.
November 12, 2017
Older but very enjoyable. Not totally unpredictable, but who cares! A fun whodunit.
Super Reviewer
½ November 12, 2017
The film has aged well, mostly because it's shadowy world of lawyers, mobsters, conglomerates, and hitmen feels more relevant than ever. Gilroy's screenplay if filled with a lot more wit than your standard legal thriller. Clooney has never been better in any movie before or since.
½ October 2, 2017
Practically perfect!
July 28, 2017
Superior legal thriller with a great script and wonderful performances by an excellent cast.
June 19, 2017
An intriguing and well paced legal thriller which hits the nail on the head. Acting is on point all round especially from George Clooney and Tilda Swindon respectively. Michael Clayton is an attorney who is solving a case which involves his friend Arthur and along the way stumbles across several obstacles. For film fans, this is unmissable as audiences are treated to an exquisite screenplay by Tony Gilroy who also takes the directors seat. Overall, it's thought provoking and comes highly recommended!
½ June 10, 2017
Unbearably slow. There is nothing thrilling here. It made me sleepy. (First and only viewing - 6/5/2017)
½ June 9, 2017
My main issue with Michael Clayton is that despite what the synopsis may suggest, the corporate intrigue that goes on seems to only effect Clooney's character come the third act. Until then he is at best scratching unknowingly on the outside of something of which Clayton and the players of this intrigue are both unaware of each others existence. The film also wants to give time to Clayton's personal issues, mainly the debt that he is in which seems to just be a distraction from the U-North drama. The story might be a bit muddled and of course Hollywood unrealistic but it is certainly well acted. George Clooney, Tom Wilkinson, Tilda Swinton, all impress. It is unfortunate that given the other factors that while this is a decent film I really don't see any need to see this ever again.
½ May 31, 2017
slow going in the beginning as the story builds, but, good suspense overall
½ May 15, 2017
"I'm Shiva the goddess of death."
February 8, 2017
a fairly by the number corporate cover up movie good acting but not enough character development for Michael Clayton ironically the name of the movie is a character that is never fully explored
February 1, 2017
It's good movie to watch
January 14, 2017
Writer/director Tony Gilroy's merciless political thriller "Michael Clayton" (2007) is a thriller of the ears. It draws out suspense on the most basic of levels, sure - it's essentially a race against time movie wherein the villains are so cool and so intelligent that they're well able to elicit more fear than your typical malevolent forces - but more chilling is its dialogue and the way its characters, all of whom are dwellers of a power hungry world that doesn't much care if you live or you die, use it to maim the propensities of others.
"Michael Clayton's" eponymous anti-hero, played by the brilliantly calculated George Clooney, is such a wordsmith. His tongue's forever playing with fire, and he's come to learn that serving niceties isn't the most effectively way of getting what you want in a land that thrives on intimidation. Makes sense: he's a "fixer" for an upper-crust New York law firm. He's the man you call when a scandal's about to potentially erupt; he's the man you call if you need to find someone to create some kind of distraction to divert attention away from the real problem at hand. His knowledge of loopholes and his affiliations with powerful figures has made him a hot commodity. "I'm not a miracle worker," he sighs to a frantic client (Dennis O'Hare) pleading for a way out of his current entanglement. "I'm a janitor."
But in the film is he just steps away from leaving it all behind. Never has every aspect of his life been so morbid, so deeply unhappy. On one side is his personal life shrouded in total gloom. He's divorced, mostly seeing his kid during all too brief rides to school. He's $75,000 in debt as a result of a misguided restaurant co-investment with his drug addled brother.
But his professional existence is even more riddled with despair. His firm's leading attorney (and Clayton's quasi father figure) Arthur Edens (Tom Wilkinson) has suffered a disturbing manic episode that took place during a life-or-death deposition regarding a class-action lawsuit, and, in the aftermath, is threatening to reveal damning evidence that paints agricultural product manufacturer U-North as highly (and knowingly) unethical. And the conglomerate's general counsel, Karen Crowder (Tilda Swinton), is more than willing to take lethal action to prevent that information from leaking to the press. Clayton, of course, is the man responsible for cleaning up the messes left behind by nearly everyone around him.
The movie, though, never proves to be the message picture it seems poised to be. It's sure of its claims that the legal world is oftentimes a vile, cruel place - those claims being told, certainly, with the melodrama that comes with any sensational account - but "Michael Clayton" is more about a man's existential crisis and the repercussions that come with his sudden disillusionment with his dog-eat-dog groomed lifestyle. For so long has Clooney's Clayton been the definition of a world-weary, seen-it-all cynic. But in the film does he come to realize that he's far gone down the hole of ethics breaking for the sake of protecting others who mostly don't deserve his willingness to put his morality on the line. Within the movie's two hours does he attempt to make some sort of right, even if the making of that right includes more, ahem, ethics breaking.
And that making even is made more investing by the tense chemistry conjured up between Clooney, Sydney Pollack (as Clayton's boss), Swinton, and Wilkinson, who all fascinatingly bring out disparate aspects of Clayton's crisis with himself. Pollack, superbly stern, is perhaps the only person Clayton's able to respect in his profession, if only because he embodies what the former might look like in the grips of looming retirement. Wilkinson, exquisitely unhinged, represents all the reasons why Clayton's put up with his job for so long. He's had to cut corners regularly, but his long-standing relationships and his dedication to the few people he looks up to are what keep him motivated. His losing grip of that security is heartbreaking, though Clayton'd never let us easily see that vulnerability.
But the most compelling relationship in "Michael Clayton" rests between the latter and with Swinton's Crowder - it's a poisonous affinity in which takedown is the name of the game. Possibly such engrossment rings loudly because Crowder is the utmost intriguing character in the film: she's a creation, a master of the art of the facade. (When we first meet her, she's in the midst of rehearsing every word, every gesture, to be delivered in a meeting to take place later that day.) Always protecting the masquerade that epitomizes who she thinks she is (or, who she wants to be), her willingness to off others to save her own skin is more interesting than horrifying. How a person can completely lose their compassion is perplexing, and Swinton, who won the Oscar for Best Supporting Actress for her characterization, captures that loss of humanity perfectly. She and Clooney, incendiary when in any scene together, have a wonderfully noxious rapport. Their final exchange makes for one of the decade's best scenes.
Everything about "Michael Clayton" is seamless, its performances thrilling, its dialogue stinging, its direction wonderfully chilly. And yet it lacks the sort of urgency necessary for a movie of its sort. Centrally are its characters working against the clock, and yet the most breathless subplot to comprise the film (being Crowder's frantic ventures to maintain her power) is oftentimes pushed aside as the least important. But the film's nonetheless a whip smart beaut. Find a screenplay as sizzling as Gilroy's and you might as well consider yourself to be in the presence of a masterstroke.
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