GamerTab That was an excellent one.

Dorathen Better Late Then Never

Billie Morin This movie feels like it was made purely to piss off people who want good shows

Yash Wade Close shines in drama with strong language, adult themes.

SnoopyStyle It's 1945 Berlin. The city is occupied by the Allies but Japan is still fighting on. American military correspondent Jake Geismer (George Clooney) arrives to cover the Potsdam peace conference. Tully (Tobey Maguire) is assigned to be his driver. Tully is happy to be working in the motor pool where he can deal in the black market. Lena (Cate Blanchett) is sleeping with him in the hopes of getting out of . Tully gets beaten up by someone looking for Emil Brandt. Lena reveals that Emil is her presumed-dead husband. Jake is shocked to see Lena who was his stringer in pre-war Berlin. General Sikorsky and the Soviets are also looking for Emil. Tully does a deal and ends up dead with a belt filled with money in the Russian zone.This Steven Soderbergh film is done entirely in black and white. It references back to the noir espionage films. The first half is interesting although Tobey Maguire's death does throw it off. He was the protagonist until he's not. There is a few layers of mysteries to Lena but the final layer is less compelling than Soderbergh thinks it is. There are some interesting things happening in this movie but the second half stumbles in a muddle of less-than-compelling reveals.

Armand more than a thriller, a form of homage to a lost age of cinema. the deep traces of 1940 years, the shadow of Casablanca, the acting in precise circles.a movie from a lost world who use inspired cast but without significant effect. error of script. or only error of director expectations. so, not a bad movie. but far to be remarkable. a film who has basic virtue to another films atmosphere but who can not give nothing real new. the slow story, the forced tension, the desire to be a realistic film noir are interesting ambitions but the desire to do everything at high level is the fundamental sin. a film for the fans of actors. and for the fans of film noir references. in rest, a slice of war with too many ambitions.

ivo_shandor Never have I seen a worse blight on film than this movie. This is a blatant ripoff of Casablanca, or rather a movie trying to be Casablanca, ripping off the poster exactly, even the lettering and style.I rented this film, hoping to see a period thriller piece. I was more interested in hearing the plot. This movie has the worst plot, and spoilers, the plot doesn't go anywhere, it just shoves in this piece of rubbish on building weapons and killing scientists. Soderbergh tries to do the old filmmaking tricks from the 40s, but they just fall flat and look stupid. When he does the old zoom in on a letter, with the black boxes around it like in the 40s films, you can't even read what the letter says, it's that terrible.It's a waste of time, don't bother with it, even with the cast, Toby Maguire is terrible, Clooney isn't anything special and everyone else is just forgettable.I'm surprised more people don't like this film for what it represents.

Terrell Howell (KnightsofNi11) In the past ten years or so Steven Soderbergh has become a director who does what he wants, when he wants. He makes the film he wants to make and he does it exactly how he feels it needs to be done, no matter how unorthodox or inconvenient. In 2004 he made Ocean's Twelve, the sequel to one of his biggest blockbuster successes. Then in 2005 he made the film Bubble, a small independently released film with no professional actors. Then in 2006 he picks his stars back up and makes The Good German with George Clooney and Cate Blanchett. And yet he does this film in a completely unconditional way that somewhat negates the star power that the film has.The Good German is about an army general who is visiting Berlin shortly after World War II. What begins as a routine mission quickly becomes a complicated murder mystery involving his mistress and his driver. The plot of the film is straightforward enough, but what makes this film different is the significant style choices that Soderbergh makes. The Good German is essentially an homage to classic film noir and war time thrillers. Soderbergh does everything in his power to make this film seem as if it were made in the 40's or 50's and if it didn't have all of the big names attached to it I might believe it really was that old. Sadly, this film goes all the way for style, and leaves behind all of its substance. Thus, after we become acquainted with the film's style we are left to watch a dull and hollow story unfold, never becoming more than a typical Hollywood junk film trying to be something it's not.The Good German is a film that deserves all the style points it gets. I commend Soderbergh for his efforts in making this pastiche film with the nuances he wanted. He got it just right, but to the extent where it takes away from everything else about the film (i.e. the story). This is a story that goes nowhere and is not interesting or compelling in the slightest. It's a mystery without mystery. I never found myself excited about finding out the answers to the questions the film raises. It is sloppy in its delivery of a hard hitting story and lazy in the way it develops said story. I tried my best to get into the film towards the beginning, but quickly found myself losing interest. Also, the film never improves. It's climax is terribly underwhelming and its conclusion is completely forgettable. From start to finish The Good German is all style and no substance.If you're a Soderbergh fan I might recommend this if you truly care about seeing everything the man has ever done. If you're a mild fan then there are plenty of other films from him that you should check out. This is definitely way towards the bottom in my Soderbergh recommendation list. Not including the film's acute style, it's easily one of his poorest efforts.