One of the best opening sequences in a movie. Prime George Clooney was a beast. 

God I hate lawyers.

One of the best opening sequences in a movie. Prime George Clooney was a beast. 

God I hate lawyers.

exploration of consequences and ethical procedures and everything so so well done. Plot was so good, so many perfect scenes, and heavy ending. Everything feels so crisp. The acting performances were all really well done, and this is clooney's apex mountain. I can't put into words his demeanor; he is sly and conflicted while slowly deteriorating from the external circumstances (the bar, his son). The directing, cinematography, and editing were all so crisp, not overly stylized taking away from the film, but just exactly what they needed to be.

overall, I'd describe this film as just really well-done. Clooney and the plot stand out, but all the components seem so polished.

exploration of consequences and ethical procedures and everything so so well done. Plot was so good, so many perfect scenes, and heavy ending. Everything feels so crisp. The acting performances were all really well done, and this is clooney's apex mountain. I can't put into words his demeanor; he is sly and conflicted while slowly deteriorating from the external circumstances (the bar, his son). The directing, cinematography, and editing were all so crisp, not overly stylized taking away from the film, but just exactly what they needed to be.

overall, I'd describe this film as just really well-done. Clooney and the plot stand out, but all the components seem so polished.

A robust procedural that chugs along with a quiet yet firm narrative engine. I found myself thinking of recent films of this ilk that I'd seen before: Dark Waters, Spotlight, The Report, whistleblower legal/journalism dramas taking place in LED-lit office rooms and city streets at night about everyday men and women uncovering grand corporate and governmental conspiracies. Michael Clayton draws its suspense less theatrically than say Spotlight but with no less intensity. What makes this film function as well as it does is its ironclad script which has frequently been noted as among the best of the century and for good reason. Every scene has a pulsing energy that propels the characters and the viewer deeper into the narrative. Clooney as Clayton taps into his character's moral quandary with a precision that feels remarkable natural and engrossing. An exercise in the banal evil of corporate legality in a pitch perfect vessel that slowly creeps on you with just how compelling it truly is.

A robust procedural that chugs along with a quiet yet firm narrative engine. I found myself thinking of recent films of this ilk that I'd seen before: Dark Waters, Spotlight, The Report, whistleblower legal/journalism dramas taking place in LED-lit office rooms and city streets at night about everyday men and women uncovering grand corporate and governmental conspiracies. Michael Clayton draws its suspense less theatrically than say Spotlight but with no less intensity. What makes this film function as well as it does is its ironclad script which has frequently been noted as among the best of the century and for good reason. Every scene has a pulsing energy that propels the characters and the viewer deeper into the narrative. Clooney as Clayton taps into his character's moral quandary with a precision that feels remarkable natural and engrossing. An exercise in the banal evil of corporate legality in a pitch perfect vessel that slowly creeps on you with just how compelling it truly is.

“Don’t you get it…? I’m the bagman.”


“You’re so fucked”

“Don’t you get it…? I’m the bagman.”


“You’re so fucked”