Michael Clayton


Fresh from scripting The Bourne Ultimatum, Tony Gilroy serves up this zesty, brainy chaser with his directorial bow. It’s a killer conspiracy thriller that gets as much adrenalised mileage out of boardroom deception and corporate-sponsored homicide as the Bourne trilogy does from its brawny set-pieces. What’s more, Gilroy’s nifty, thought-prodding exposé could well land leading man George Clooney – here cementing his rep as Hollywood’s liberal town crier – another Oscar shout…

Clooney’s title character is an in-house ‘fixer’ at a massive corporate law firm which guards its rich, rapacious clients with all the ferocity of a starving lion protecting its pride. His unsavoury, shadowy role could be as ‘benign’ as covering up a hit-and-run, or as sinister as, well… whatever it takes, no questions asked – get the job done and enjoy the penthouse lifestyle. But operating in this personal and professional abyss has turned Clayton into a disillusioned burnout – just the sort of role, after Syriana and The Good German, to fulfil Clooney’s current penchant for playing disappointed men who go through crises of conscience and come out the other end with their souls soothed, if not quite saved.

It’s the guilt-wracked flip-out of hotshot colleague Arthur Edens (Tom Wilkinson) – and his subsequent attempt to sabotage a multi-million dollar class-action suit against agrichemical giant U/North – that sparks Clayton’s morality monitor into action. Although he’s never in danger of turning into the male Erin Brockovich, quite why a shady career bastard like Clayton has this radical change of heart is only partly explored by Gilroy’s screenplay (blame seems to fall, obliquely, on a sketchy estranged-brother subplot that sends the film wobbling off its otherwise sure footing).


But whatever the motives, his redemptive actions are potently underlined by the riveting scenes that ensue between Clayton and U/North legal warrior Karen Crowder (Tilda Swinton, in yet another brittle-bitch role). As these two canny and ruthless operators spar, parry and circle each other, we’re on course for a climactic duel that’ll send thrilled chills down your spine.


Continuing to seek out writer/directors with something to say, Clooney's latest pair-up packs its anti-corporate agenda with enough meat to keep you hooked.

Film Details

User Reviews

    • murrow458

      Feb 11th 2009, 16:27


      REVIEW BY RICHARD JACK SMITH Simply put, Michael Clayton is a film in search of a plot. If you're expecting explosions and chases, you should be so lucky. First time director Tony Gilroy is not interested in that. He is more concerned with the interior lives of three different people who are thrown into a situation in which they have no control. George Clooney is Michael Clayton, a "fixer," which is another way of saying that he is a problem solver. Arthur Edens (Tom Wilkinson) is Clayton's closest friend, a lawyer in charge of a case involving corporate malfeasance. U/North lawyer Karen Crowder (Tilda Swinton) is presiding over a merger which will mean big profits for her company. The only person who threatens the deal is Arthur who has decided that enough is enough, and that U/North should be exposed for making money while the public suffers. To make a simple analogy, a target on a machine gun range has less holes in it than the plot of this film. Tony Gilroy's screenplay is structurally weak with numerous lapses in meaning and coherence. For instance, what does it mean when George Clooney stares at three horses just before his car blows up? The moment lingers and goes on forever. George Clooney once said that he was "out of touch." Out of place is more like it. Throughout the film, Clooney looks like his mind is somewhere else and his performance is less than engaging. Also, Tilda Swinton's character disappears for long stretches of time, which makes it difficult to find anything compelling in her performance. But, the two best things about Michael Clayton are Tom Wilkinson's acting and the ending. Unfortunately, this is not enough to make the film worth seeing more than once.

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