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Rating:  -
This is one of the worst post world war II noir movies I have ever seen. It is a cheap imitation of the classics such as Casablanca or Judgement at Neuorenberg. Apart from Kate Blanchate, all the major actors especially George Clooney did a very inferior and non convincing job portraing the key character. The theme of this film as with the majority of todays Hollywood movies is a message of anti-US sentiment. Furhtermore the director of this movie did a very poor job of the interplay between real post war Germany film footage and the actual movie itself.
Rating: -
What a disappointment this movie was...from the gratuitous sex scene with Spiderman to the perjured Casablanca type ending. Almost made me sick. Worst World War II movie I ever saw. This had such potential and they really blew it.
Rating:  -
This movie was filmed in throwback black-and-white, which I usually like. But here the attempt to recreate the look of old newsreel footage just comes across as self-conscious artsy effect. This whole movie is unfortunately too much about projecting a look, and too little about telling a coherent, engaging story.
"The Good German" was presumably meant to be a serious drama about post-WWII Europe, when the Nuremberg Tribunal was being convened and researchers were trying to identify people guilty of war crimes so that they could be prosecuted. In that climate of shifting, concealed identities, black-market wheeling-and-dealing, and wild speculation - there was enough intrigue to fill thousands of compelling stories. But this doesn't turn out to be one of them.
This is too garbled and contrived a view of those years. It's an uneasy mix of "The Third Man" and "Casablanca." One of the scenes is in fact such a replica rip-off of a famous Casablanca scene that it makes this whole movie seem like parody.
George Clooney, who stars in as well as directs, makes it hard for us to take the movie seriously in other ways. For one thing, he is brutally beaten a number of times, but never seems to suffer any damage beyond the need for a band-aid. And even that can be quickly peeled off, showing him none the worse for wear. It's like the 1950's TV westerns in which the singing cowboy heroes would get into repeated fierce somersaulting fights - without ever so much as losing their white hats.
No, I'm afraid if this movie were itself put on trial, it would definitely be found guilty.
Rating: -
Other reviewers amplify the film noir, historical accuracy of post-war Berlin, Soderbergh's artistic interpretation...enough. It's been done before and done better, Not even Clooney's charm and wisecracks can save this. As any good American will understand, this one's a huge swing and a miss. Don't let your curiosity get the better of you. Take a pass.
Rating: -
I know director Steven Soderbergh likes experimental films, but I never imagined he would do this. In "The Good German" you will see a film noir starring George Clooney, Cate Blanchett and Tobey Mcguire in a complicated story of crimes and intrigues set in the ruined city of post-war Berlin in 1945, divided into sectors by the Allies, just like Vienna in "The Third Man." "The Good German" is shot exactly the same way as old films of 1940s - editing, camera angles, lighting, plus even title backs and acting style. So Thomas Newman's score, which deservedly nominated for Oscar, is just impressive in more than one way.
Yes, the results impressed me pretty much at first, and soon bored me because of the lack of emotions. All actors look fine in the meticulously re-created images of old Hollywood films, especially cast-against-type Clooney as military journalist who stumbles upon murder mystery and ever-fantastic Blanchett as mysterious lady with a Dietrich-like accent. The film sometimes uses strongly sexual and violent actions and languages as if trying to remind us that this is not just a copy of old film.
But the film's real problem lies behind the styles. When the film attempts to be thrilling or romantic with the convoluted plot, it becomes painfully clear that there is nothing truly interesting here. The film keeps unraveling layers of mysteries without stirring any emotions within us. You don't see the chemistry of Bogart and Bergman, without which the story fails to be engaging.
I don't know anything about the source novel. I only imagine that it is much better than this adaptation, which borrows one scene from "Casablanca" while it does not need to do so. The scene may be a pastiche; or it may be that Soderbergh meant it for real. Whichever it is, I still don't see the point of shooting an entire feature film in this way while it is devoid of any suspense or romance.
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