Michael Clayton Reviews

Take a simple concept, uninteresting story about a law-firm and then deliver the story in an Oscar-Worth-Way, meaning many twists, encrypted script, unconnected scenes, unrelated characters, unrelated events, twisted time-line and overall confusing atmosphere.

This is Michael Clayton, the most confusing, boring and and anti-interesting movie ever, in most cases, these type of movies, tend to have a great story, that will blow up at the end, but here, the story didn't go anywhere, the same confusing atmosphere that the movie begins with, the movie ends with.

I spend the first hour of the movie just confused as what the movie is trying to be, seriously, the script was encrypted and confusing, the events were unrelated and there wasn't an introduction to the characters at all, at least with mystery movies, you can sense a story building up, or at least a character building up over time, but you don't get to see any of that.

This was Tony Gilroy debut as a director, and it looked professional, but for no reason, the story wasn't worth it, most people supporting this liked the movie atmosphere, the score, the cinematography, but i don't like wasting my time in the dark wondering what's the movie about, and then end up confusing about what it was.

Smart film! I like its style, acting, music, atmosphere, and choice of narrative through editing. One of the best in 2007!

When describing this movie to people, I compare it to Network from the 70’s, which blasted money and television, except this time it’s blasting money and the food industry. This is a sleek legal thriller starring George Clooney, but I think Tom Wilkinson steals the show as the mad lawyer who saw a flash of truth and now seeks to destroy the industry that he has been paid very well to defend in court.

“Isn’t it what we wait for? To meet someone… and they’re, they’re like a lens and suddenly you’re looking through them and everything changes and nothing can ever be the same again.”

His bosses at the law firm know what a genius he is, but don’t know how to handle him so they send Clooney’s character Michael Clayton over there to “fix” things. Clayton fails, and the food company starts to take matters into their own hands. This film shows the depths of corporate greed and their focus on profits and numbers in an attempt to block out the harm they are causing. Tilda Swinton nails the newly-promoted corporate executive who seems more nervous about giving a speech than ordering a hit. The movie also sheds light on the important issue of genetically modified crops and the specific pesticides used to treat them (read: Round-Up by Monsanto). Sleek and well directed, this film snuck its way into my favorites list. Give it a shot.

Michael Clayton (George Clooney) works as a "fixer" in a Manhattan law firm. Here, by the encouragement of the firm's senior Marty Bach (Sydney Pollack) he unwillingly does the job he dislikes, even after being stuck up deeply in a debt his brother left him with, even after failing in his marriage. To make matters worse, one of the lawyers at the firm Arthur Edens (Tom Wilkinson) while representing a Chemical company (U/North), involved in a multi-billion dollar class action suit, has a mental breakdown due to lack of medication. When the firm calls in Michael to handle the situation, he discovers the proof that Arthur has against U/North concerning the case that can get both of them killed and if revealed can completely put the company in jeopardy.

When U/North understands the situation, their lead attorney Karen Crowder (Tilda Swinton) takes the lead of "containing" the situation. What happens next is a great, weird, realistic and a worthy experience...

Michael Clayton, now it can be told, is not that kind of cliched thriller film one might expect. It's completely unique in it's style and is that kind of thriller that deserves full attention of the audience. Michael Clayton has no chase scenes, no gun-fights, no explosions (save one). The entire film is less action and more talk. Still, the film surprisingly delivered some serious thrills. Michael Clayton is more of the "experience" than the story itself. The plot is simple yet Tony Gilroy forces us to watch the film closely by making it a little indirect. The film's pace is slow, but the excitement never ends and that's the main point. The character detail itself is incredible. Like Michael is a fixer, ex-husband, father, brother, friend, businessman. He is all these different persons at times when he has to be and Clooney is perfect in every role. Wilkinson gives an equally ground-breaking performance of a nutty lawyer who after learning the company's fraudulent involvement in the case is enlightened by the fact that the defense is wrong and the work of "adjusting the truth" that the firm does is wrong. Eventually he sees himself as a part of this wrong and tries to get out of this job. Tilda Swinton in her negative role of Karen Crowder is a woman who is ready to do anything to save the company. She has even sold her soul to the devil and doesn't care what happens next. Her realistic performance won her an Academy Award in her supporting role.

What's more important is that how Gilroy is presenting the film. Yes, it's long and indirect. But saying that will only suggest the fact that this film tries in vain to be different. Yes it does, not in vain, but in a style better than James Bond and you don't need those silly gadgets to make you safe. It's a mind game, a film that goes in the head of all it's major characters and although the film's name suggests that Michael is the only one to take on the biggest part of the whole emotional burden then it's not entirely true. For example, the film specifically shows us Karen practicing hard, as if to impress, for her speech or for her interview. While she is giving the speech or answering the questions, Gilroy puts some excerpts of her practicing it. This shows what kind of person she is: A hard working woman trying to save her job and the company, trying hard to be "Perfect".

In conclusion, Michael Clayton is a masterpiece. But unfortunately, it won't impress everyone. If you love serious drama that involves smart, to-the-point dialog and words-speak-louder-than-action kind of stuff then you are in for a treat.

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"I'm not a miracle worker, I'm a janitor. The math on this is simple. The smaller the mess the easier it is for me to clean up."

Contemporary Hollywood thrillers are distinctly separated into two categories: visceral thrillers (which are dependent on action to generate tension and excitement), and intellectual thrillers (which rely on smart plot twists, dialogue and fascinating characters). Michael Clayton, the directorial debut of screenwriter Tony Gilroy, firmly belongs in the latter category. Prior to writing and directing this masterful thriller, Gilroy was primarily recognised for scripting the Jason Bourne movies. Michael Clayton is a breath of fresh air in modern-day Hollywood. Gilroy is of a dying breed; a screenwriter capable of penning intelligent blockbusters (The Bourne Ultimatum) and intellectual thrillers (like the film in question). Michael Clayton unfolds at its own pace and permits few concessions to impatient viewers or those not paying attention. Gilroy's script implores a viewer to contemplate every inch of film on offer, and connect the dots without much assistance. Michael Clayton is essentially a legal thriller that unites a tense battle of wits and a sinister government conspiracy. It's ardently dialogue-driven, thus action junkies are advised to avoid at all costs.

Michael Clayton (Clooney) is an in-house "fixer" for one of the largest corporate law firms in New York. He's an important asset to said firm - the go-to guy when clients are in hot water. When things go south, Michael is appointed to clean it up. He's at the top of his field, but he abhors his job and wants out.
U-North is among the leading clients of Michael's law firm. They're a chemical company locked in a six-year long class action lawsuit against a group of people who have contracted cancer as a result of the company's pesticides. For U-North, the case look promising until lead attorney Arthur Edens (Wilkinson) suffers a nervous breakdown and is struck with an attack of guilt. He's smitten with one victim (Wever), and begins assembling evidence to prove U-North's guilt. Michael's boss - Marty Bach (Pollack) - orders Michael to intervene and resolve the situation.
U-North's primary litigator - Karen Crowder (Swinton) - grows suspicious of Arthur and Michael; believing they could cause the lawsuit to crumble. She therefore begins her own investigations. The potential three billion dollar lawsuit would be enough to break U-North, and the company are willing to do anything to ensure their best interests are served. But a corporate battle quickly transforms into something much more sinister, and the assignment to clean up the Arthur situation turns out to be a job Michael shouldn't have accepted.

"This is a three billion dollar class action lawsuit. In the morning, I have to call my board. I have to tell them that the architect of our defense was arrested for running naked in the street. What sickness is he talking about?"

The central intrigue driving the plot is that U-North is unmistakably guilty. Furthermore, both the corporation and the law firm are completely aware that U-North is guilty. However the law firm's allegiances lie in the highest bidder - they are being paid millions to defend U-North, and are therefore keen to do so. But in the middle of this situation is the unstable Arthur Edens who now holds the smoking gun.

Michael Clayton builds to an apt conclusion that doesn't employ surprise twists or cheap theatrics. It develops progressively and remains entrenched in the real world as opposed to the realm in which thrillers commonly unspool. The film presents a derogatory proclamation about the profit-above-all business traditions of major corporations. If there's a sole flaw in the story, it's that Michael's motivations occasionally seem influenced by the needs of the plot.

"You're my meal ticket, Marty. If you leave, it's just me and Barry in a room and I'm trying to explain what the hell it is I do around here."

Michael Clayton is predominantly a film about characters who inhabit the grey area linking morality and immorality, where everyone holds a diverse perception of the constituents of ethics. These characters are not "good" or "evil" - they are the outcome of choices (some right, some wrong).
Marty knows that a majority of his key clients harbour untold secrets, but by representing them they earn big bucks and the firm is kept afloat.
Karen Crowder is prepared to do practically anything in order to conceal the misdemeanours of her company.
Arthur's crisis of conscience prompts a confrontation of principles and morality. He can no longer dismiss the happenings around him when he has become part of a machine that defends a company that's causing people to die of cancer.
Michael's job as a "fixer" means he must often turn a blind eye to nasty situations. He is trapped in the middle - caught between his underdeveloped perception of right and wrong, and his requirement for financial stability.

Gilroy doesn't dole out the intricate plot in easy-to-digest portions. The script is loaded with stilted dialogue and an ambiguous ending that begs the audience to draw their own conclusions. Too many contemporary thrillers connect the dots for the audience by inserting a quick montage or another similarly silly technique. Michael Clayton doesn't do this; it's a breed of movie that demands us to keep up with the story and characters, the unexpected twists, and the occasionally superfluous subplots. Although an onslaught of subplots may slow the pace and confuse the audience, it reminds us of the film's true nature: it's a study of the main character. Naming the film after Michael Clayton is an indication that the primary story concerns the central character, his difficulties, and his career (which he dislikes). In hindsight, the narrative is weaved together beautifully. In fact repeated screenings are imperative in order to efficiently absorb everything and realise the film's true brilliance. Michael Clayton expects more from an audience than most contemporary motion pictures.

Tony Gilroy's talent for writing intelligent and detailed stories evolves with Michael Clayton. He has served as a screenwriter for a large part of his career. With Gilroy helming this particular project in addition to writing it, this is a personal endeavour. While Gilroy generously scattered exhilarating action sequences throughout his scripts for the Bourne series, Michael Clayton offers little to no action. Thankfully, the freshmen director shows maturity in his work; crafting a stylish and slick thriller that rivets through the intelligent script and well-drawn characters. Gilroy doesn't adopt the quick-cutting and "shaky cam" techniques of Paul Greengrass, instead embracing a more classical method. Collaborating with the accomplished cinematographer Robert Elswit (who previously worked on Syriana and Magnolia, just to name a couple), Gilroy employs steady, ominous establishing shots in addition to measured editing that emphasises tension during conversations. Masterful lighting divides the brooding sterility of Michael Clayton's business world from the hospitable warmth of a family home and the eerie silence of a sweeping field at dawn. Gilroy has constructed a tense and taut thriller that builds to a gripping conclusion and showcases his ability as a top-tier screenwriter. Michael Clayton is Tony Gilroy's movie and while Clooney places forth an incredible performance, the success of this excellent film is thanks to Gilroy's laudable exertions. Additionally, James Newton Howard's beautifully haunting, evocative and atmospheric score is yet another layer of magnificence.

Michael Clayton breaks conventions by flaunting the charismatic George Clooney in the title role. As a morally compromised lawyer, Clooney exceeds all expectations - the actor bestows the character with intelligence, confidence and humanity. This superbly subdued performance earned Clooney an Oscar nomination for Best Actor. Clooney commands the frame; exuding charisma and confidence. It's been stated before that cinematic acting requires subtlety, and that the simplest glance or faintest gesture is magnified a hundredfold when committed to the medium of film. Clooney evidently understands this principal. A prime example of this is the extraordinary closing credits as the camera intently examines Clooney riding in the back of a taxi. This magnificent actor delivers a multi-faceted and totally nuanced portrait of a man whose life is in turmoil and is therefore compelled to adapt.

The supporting characters are fleshed-out skilfully and played flawlessly. Tom Wilkinson collected an Oscar nomination for Best Supporting Actor. Even though he lost, Wilkinson's performance is convincing and focused. His opening monologue introduces the film perfectly; each word is delivered with such passion and absolute abandon, and these opening moments effectively establish the bleak, ominous tone that pervades the entire picture. It's utterly mesmerising watching Clooney and Wilkinson exchange dialogue...cinema can not get any better than this!
Tilda Swinton earned a Best Supporting Actress Oscar (the only Academy Award Michael Clayton won) for her captivating performance as the attack dog of U-North. She's a shark navigating waters murkier than those in which she's accustomed to swim. Swinton's Karen Crowder makes mistakes - big mistakes - but is ultimately unprepared for the consequences. She's cold and calculating while still managing to display the precarious nature of that icy demeanour. Her convincing performance particularly shines towards the film's dénouement.
Actor/director Sydney Pollack is also in action as Michael Clayton's exasperated boss. He delivers a uniformly excellent performance.

"Dear Michael. Of course it's you, who else could they send, who else could be trusted?"

Earning a total of seven Academy Award nominations (including Best Picture and Best Director among others), Michael Clayton is a potent legal thriller that expertly harkens back to the courtroom dramas and conspiracy-theory flicks of the 1970s and 80s (although the movie never goes near a courtroom, interestingly). It's extremely stilted, difficult to follow and quite slow, yet the film works due to Gilroy's masterful script and meticulous direction. Michael Clayton is engaging and engrossing, riveting and spellbinding, and it's tagged with an ambiguous conclusion. It demands repeated viewings, and some will need to watch it multiple times before realising its sheer brilliance. Each time you re-watch this topflight psychological thriller you'll glean further insight into its sophisticated world. Although it's extremely confusing, it's worth one's concentration and it's one of the most enthralling motion picture experiences of 2007. Oscar material this certainly is.
Michael Clayton offers deep intrigue guaranteed to keep an audience on the edge of their seats. Apart from the cast, nothing about the production is flashy. There's no action (save for a single explosion), no gunfights, no sex...just a great story which has been intricately created by a master craftsman. It is one of the most subversive anti-corporate films to come out of the Hollywood studio system. It isn't a box office player, but rather an intelligent motion picture for an intellectual audience to discover.

Arthur Edens: "Michael, I have great affection for you and you live a very rich and interesting life, but you're a bag man not an attorney. If your intention was to have me committed you should have kept me in Wisconsin where the arrest report, the videotape, eyewitness reports of my inappropriate behavior would have had jurisdictional relevance. I have no criminal record in the state of New York, and the single determining criterion for involuntary commitment is danger. Is the defendant a danger to himself or to others. You think you got the horses for that? Well good luck and God bless, but I'll tell you this: the last place you want to see me is in court."
Michael Clayton: "I'm not the enemy."
Arthur Edens: "Then who are you?"

8.8/10

This movie is extremely boring and slow. The story is bad written, there're too much talking and it's completely uninteresting. A total waste of time...

Prelude's review sums up the film's plot quite well so I won't repeat it :)

I must mention that to me, it's "just another lawyer movie". Don't get me wrong, it's a great story, but it's been done so many times, that in the end... it gets boring.

I did not find Clooney's acting to be out of this world or even extraordinary. I found it quite plain and void of feelings. Didn't feel any interest in any of the characters.

I also didn't understand why Swinton got an Oscar, she didn't give that great a performance.

I did enjoy the cinematography, the editing, Tom Wilkinson's acting, and the last scene between Clooney and Swinton.

That said, don't watch if you're tired, as the film can be slow at times.

At last! A thriller with a plot that hasn't been diluted for wide release multiplex audiences. Its a little dry in places but the plot becomes more elaborate by virtue of the timeline on events which is cleverly done . One of Clooney's better performances.

"There's no play here. There's no angle. There's no champagne room. I'm not a miracle worker, I'm a janitor. The math on this is simple. The smaller the mess the easier it is for me to clean up."

Michael Clayton is an appealing, slow at times, but generally satisfying thriller. My words of advise if you plan to see this is not to expect a fast-paced action thriller of any kind, this is really something quite the opposite. It's still kept in the 'thriller/mystery' genre, but by no means has the action that some viewers might be looking for. Instead it takes a slower pace and it focused on politics and lawyers, though not a great deal of understanding is needed. In order for this overall film to leave the viewer satisfied, you have to understand the ending and pay close attention throughout the film. Even for me there are some questions still in my mind that are unanswered, but I know that some people will watch this and not pay attention for some of the movie, and then be left almost clueless at the end. I for one really appreciated this style of film, and although it's not normally a type of film that I would choose to watch, I am still glad that I have seen it.

George Clooney showed some amazing talent in Michael Clayton, it was great to see him in a role such as this. Tilda Swinton for me did not live up to the 'Best Supporting Actress' Oscar that she received, to me most of her performance was nothing that contributed a lot to the film. Tom Wilkinson, however, was exceptional and gave a great performance.

This was a brilliant film that I definitely enjoyed watching, it was extremely interesting and well acted in most cases. Though, having said that, this film isn't for everyone. If it sounds like something you might like, or you're just curious, then I recommend that you see this for yourself.