Kind of like the wide receiver of the same name, Michael Clayton was a disappointment. While it has some moments, the film is the epitome of been there, done that. There's really nothing new here at all.

It was a capable film and solidly done (very good performances by the cast) so it isn't bad, but it isn't all that engrossing nor is it memorable.

----
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so happy i'm out of this shit industry

-------------------------------

A lot of you players ain't okay.

We would have been better off with an okaycivics board instead of an okayactivist board

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Great script. Wilkinson was amazing. Pollack is a national treasure. Clooney is well on his way to becoming one too.

I agree, the acting by the main characters is briliant. Pollack is very good as is Tilda Swinton. Clooney is one of Hollywood's leading men with substance and Tom Wilkinson should receive a lot of praiase. He never gives a bad performance apart from Batman Begins with that terrible accent. I liked him in In the Bedroom.

It might be slow but it is involving and it certainly picks up in the second half. It was the directors first film and i thought he did a good job.

He never gives a bad
>performance apart from Batman Begins with that terrible
>accent.

I liked that performance and the accent.

Add Tom Wilkinson's name to the Best Supporting Actor Oscar list (along with Hal Holbrook for Into the Wild)

Hot script, super movie.
______________________________________________________________________
Clear Eyes
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(unless y'all don't watch)

I was on my way to Center City to see it,that's a hike and a half for me. I'll go anyway, can't trust a critique that's only a few sentences long. Plus me and bignick like the some of the same movies and he said it was excellent.

As folks above have stated, Wilkinson and Clooney give amazing performances. Its worth seeing for those 2 alone...solid movie all around.

Not the best movie I've seen this year, but still, highly recommended.

_______________________________________________________________________________

<---- Plax to Andre Dyson: "Get off of me!"

I loved it.

Fuck denzel washington, michael clayton is the real gangster. That last scene, for me, came out of nowhere, I was completely surprised...

What a great plot, tilda really shined and clooney was perfect.

I can't think of a single thing wrong with this movie.

.

rehearsing all that BULLSHIT and then having a her conscious basically
eating her ALIVE behind closed doors, and it all climaxing at the end after she
got suckered by Clayton.

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might go see it this weekend.

>Kind of like the wide receiver of the same name, Michael
>Clayton was a disappointment. While it has some moments, the
>film is the epitome of been there, done that. There's really
>nothing new here at all.
>
>It was a capable film and solidly done (very good performances
>by the cast) so it isn't bad, but it isn't all that engrossing
>nor is it memorable.

Looks like an above average political thriller. Is it better than Syrianna or about the same?

Did you see the Good Shepherd? yuck, booooring, not memorable at all.

I liked Syriana but that's a vastly different movie. This film doesn't have the various storylines ala Syriana, Babel, Fast Food Nation, Amores Perros, etc.

The performances are amazing which makes it watchable and the film is solid. It is subtle. It's not your typical mainstream Good Guys/Bad Guys type movie. Everyone lives in the grey area.

If you appreciate great acting, I'd recommend it. Other than that, I wouldn't say to avoid it but I wouldn't recommend it either.

----
NBA MOCK DRAFT #1 - https://thecourierclass.com/whole-shebang/2017/5/18/2017-nba-mock-draft-1-just-lotto-and-lotta-trades

Wasn't actually planning on seeing it. Had nothing to do today, headed to the movie theater and it was starting right then, so I went to see it. I'm very happy it worked out that way. Great movie.

simplified but effective story telling and performances.

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when it was called every other legal thriller ever.

THAT SAID

I loved it. It was *exceptionally* well-acted. Pretty much flawlessly executed. Theatrically written but the actors pulled it off. I was gripped by it from start to finish.

If you like this kind of movie, you will love this particular movie.

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where he tells him him he isn't like his low-life uncle

For some reason, this just felt like a real movie to me. Sure, it was a little slow in the beginning, but I loved the ending. The part where they showed how everything went down, it was intense and not over the top.

"Shorty said I look like Swizz Beats but like minus the ice"

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http://www.kcrw.com/etc/programs/tt/tt071010tony_gilroy

Not only has screenwriter Tony Gilroy (The Devil's Advocate, Dolores Claiborne) had quite a career, but quite a year as well. He adapted the Bourne books, including Ultimatum. Now he makes his directorial debut with Michael Clayton, starring George Clooney. We look at his career so far.

*spoiler*

the murder scene where Swinton's hit men kill Arthur Eden was so methodical and paced perfectly. With the injection and then Wilkonson's little twitch, I can't remember feeling that uncomfortable (and empathic) about a murder scene in a long time. Dude even checked Eden's pulse again to finish out the scene. I liked it.

You're dead on (no pun intended).

That scene gave me chills. There's nothing sexy about white-collar hits and that showed it.

The scene that killed me was the "All signs point to a suicide." That was the biggest weakness in the entire movie to me... that dude just bought like 20 french rolls and had champagne chilling with two glasses in the fridge. Suicidal people don't do that... I'm pretty sure police are smarter than that.

there was the whole "he stopped taking his meds, got naked and went on a batshit crazy-ass rant at work" thing the cops had to deal with

For all they knew, the bread and champagne could have been a part of a pre-meditated "celebration" of the end of his life

I just like how he made a pause tape... that's hip-hop, yo...


Long time, no see, btw
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https://www.youtube.com/watch?v=R8OWNspU_yE

not only was the acting ridiculous, but
the direction managed to keep the tension
ratcheted ALL THE WAY up, without being
over the top or heavyhanded.

clooney murdered his role (well, everybody
else did, too)

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it was EXCELLENT!!!!

The acting...superb, as well as the writing and directing. I *heart* George, that was a role tailor made for him brings out his best, but Tilda and Wilkinson had great performances as well.I liked that the story could have went two ways,it kept my attention. I usually lose interest in movies two hours long, but this one kept me intrigued until the end.

..saw Rogue Assassin instead cos we rocked up late to the theatre.



V.

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i really enjoyed this

reminded me alot of solaris (remake version) in terms of the slow burning confusion seen in Clooney's characters. Also some of the shots, some of the music etc were really similar...

speaking of which, this film was shot really well
the acting was great
i can't really understand people who think this film is a tried and true, typical legal drama
i think it subverts alot of those 'standard' narrative devices, and is definitely does not attempt to create an explicit relationship with the viewer

---

The film didn't make the good guys/bad guys as obvious as most films and Clayton was borderline anti-hero but personally I thought this film was a well-acted standard issue film.

I know I'm in the minority but I think this film will be long forgotten by this time next year.

----
NBA MOCK DRAFT #1 - https://thecourierclass.com/whole-shebang/2017/5/18/2017-nba-mock-draft-1-just-lotto-and-lotta-trades

>The film didn't make the good guys/bad guys as obvious as
>most films and Clayton was borderline anti-hero but personally
>I thought this film was a well-acted standard issue film.
>

exactly. the whole narrative wasn't spelled out in explicit detail for the audience to understand it. there are no 'recap' scenes as such, meaning your understanding of what's going on evolves throughout the film, as opposed to having a clear definition of the object of the narrative. through this, the film doesn't employ those standard narrative devices that continually draw explicit reference to the story and therefore keep the audience aware of the various elements at play in the film.

*spoiler*

the film plays with convention by killing off arthur at the halfway point of the movie. arthur representing the conflicted, troubled lawyer fighting the 'injustice' who would ordinarily come through thanks to clooney's character. sure, a conventional narrative device. by killing him, that is subverted.


i'm not saying this film is unbelievable. but its definitely a good movie. by no means is it some extroadinary break from hollywood tradition, but i think it achieves quite a bit through fairly subtle narrative techniques

---

Arther was the impetus for Michael Clayton's moral quandary. In almost every film, he gets offed about midway through. The midpoint is the point of no return for the main character and killing Arther was exactly that. Clayton had to make his play, the stakes were heightened and he couldn't straddle the line anymore. He was either with the corporation or against them.

Tony Gilroy also wrote "The Devil's Advocate" and in that film, the Arther character is Eddie Barzoon. In The Firm, I believe that it is Gary Busey's character.

Michael Clayton was subtle (and Clayton was an anti-hero) but it played by the exact narrative structure that these types of films always follow.

----
NBA MOCK DRAFT #1 - https://thecourierclass.com/whole-shebang/2017/5/18/2017-nba-mock-draft-1-just-lotto-and-lotta-trades

As someone who works for a major plaintiff law firm, this movie was especially good because it's so on point. Defense firms for major corporations can be the most evil, cold people in the world, next to the corporations.

The acting was utterly phenomenal. Everything everyone has said in this post about it is true. I loved the pacing of the film; the music was great, too. That opening monologue killed it. I left the theater after spending 10.50 very happy to have seen it.

Great performances from everyone in the piece esp Pollack and Clooney, the script was sharp, and you really got some great character development for Clayton, esp that scene with his son, after the uncle shows up, and he's talking to his son about how he wont be a low-life....I really didnt expect any of the more personal material to be in the movie, but the film nailed it, and it made the attachment that much greater for the audience.

Pollack was fucking great....and that murder scene, with just how perfect it was and how helpless duke seemed, it just made me uncomfortable and angry.

The final scene with Clayton finally getting his payback was great.....'you are so fucked, I might as well take your picture' and then ole girl just going down on her knees as he walks off, so fucking excellent.

The film didnt try to overcomplicate matters or anyhting else, it had its main topic and really stuck to it instead of trying to throw in a whole bunch of twists and coincidences.

Lastly, I wish it wasnt true, but some large corporations and the firms that defend them are some of the most soulless, piece of shit, ungodly organisms you will find on this earth.

---------------------------------
<--The drought is over

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L D E A

One of Clooney's best performances, IMO.



>Kind of like the wide receiver of the same name, Michael
>Clayton was a disappointment. While it has some moments, the
>film is the epitome of been there, done that. There's really
>nothing new here at all.
>
>It was a capable film and solidly done (very good performances
>by the cast) so it isn't bad, but it isn't all that engrossing
>nor is it memorable.

i loved every moment.

get money.

www.gakcity.com

the scene between wilkinson and clooney in the alley, while wilkinson was holding the bread was great. but MY question is, why did he stop and look at the horses?

>the scene between wilkinson and clooney in the alley, while
>wilkinson was holding the bread was great. but MY question is,
>why did he stop and look at the horses?

Because it was the ame image (tree on the hill) that was in that book he was skimmming through

i recognised it was from the book when we see a glimpse of the image later on, but what is it supposed to represent? who or what are the horses meant to be? and why does Michael look so relieved/bemused/guilty?

V.

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>i recognised it was from the book when we see a glimpse of
>the image later on, but what is it supposed to represent?

That's what the look on Clooney's face seemed like to me.

>i recognised it was from the book when we see a glimpse of
>the image later on, but what is it supposed to represent? who
>or what are the horses meant to be? and why does Michael look
>so relieved/bemused/guilty?
>
>V.

The book or chapter had some specific meaning but its been a few weeks since Ive seen it so I forget. Maybe what Nick says re: freedom/escape. He noticed the image in real life and went up to it and there happened to be the added trump of horses there. Wild ones evidently, hence freedom etc.

(early on)

>EXT. THE FIELD -- DAWN

A HUGE OPEN PASTURE. Surrounded by forest. The sun just starting to rise. Cold mist hanging over the whole valley. Nothing but gray and green. Stark. Perfect.

THE MERCEDES speeding toward us -- climbing around the turn -- eating up the valley road that runs along the pasture -- but suddenly the car is slowing -- braking hard and --


INT. THE MERCEDES -- DAWN

MICHAEL pulling to a stop. Staring out the window.


EXT. THE FIELD -- DAWN

MICHAEL getting out of the car. Standing there.

THREE HORSES poised at the crest of the pasture. Hanging there in the fog like ghosts.

MICHAEL jumping the fence. Walking slowly into the field. Behind him, the MERCEDES with the engine running.

THE HORSES aware of him now. Watching him come.

MICHAEL’S FACE as he walks. And later on we’ll understand all the forces roiling inside him, but for the moment, the simplest thing to say is that this is a man who needs more than anything to see one pure, natural thing, and by some miracle has found his way to this place. The wet grass and cold air and no coat -- none of it makes any difference to him right now -- he’s a pilgrim stumbling into the cathedral.

And he stops. Just standing there. Empty. Open. Lost.

Nothing but the field and the fog and the woods beyond.

THE HORSES staring at him.

MICHAEL staring back. And just like that...

THE MERCEDES EXPLODES!

THE HORSES already running before MICHAEL can turn back -- pieces of the car that have been blown into the sky still raining down before he’s fully grasped what’s happening --

MICHAEL simply shocked. Senseless. Standing there frozen. Stunned. What just happened? The car -- his car -- is gone -- just like that. MICHAEL looks around. Looks back. He should be dead. He is not.

When THE GAS TANK EXPLODES!

And suddenly it’s clear. All that staggered chaos in Michael’s eyes suddenly replaced with steel. He should be dead. He is not.

And now he’s walking. *Toward* the car.

Walking faster. Determined. And suddenly he’s running -- running toward the fire. Faster and faster, as we...

DISSOLVE TO



(later)

>INT. THE MERCEDES -- NIGHT/PRE-DAWN

MICHAEL escaping. Driving wild. And this time around we know what’s in his head. Definitely running from more than Mr. Greer and Jerry Dante.


INT. THE TAURUS -- NIGHT/PRE-DAWN

(scene with the hitmen trying to locate Michael so they can blow up the car)


INT. THE MERCEDES -- NIGHT/PRE-DAWN

MICHAEL -- turning again -- aimless -- windows open -- cold air whipping through -- braking suddenly -- impulsive -- turning -- suddenly -- faster now and --


INT. THE TAURUS -- NIGHT/PRE-DAWN

(more stuff with the hitmen)


EXT. COUNTRY ROAD/THE FIELD -- DAWN

THE MERCEDES skidding to a stop.

PULL BACK TO REVEAL

THE HUGE OPEN PASTURE. Surrounded by forest. The sun just starting to rise. Cold mist hanging over the whole valley. Nothing but gray and green. Stark. Perfect.


INT. THE TAURUS -- DAWN

(more stuff with the hitmen)


EXT. THE FIELD -- DAWN

MICHAEL out of the car. Jumping the fence. Walking into the field. Behind him, the Mercedes with the engine running.

THE THREE HORSES poised at the crest of the pasture. Hanging in the fog like ghosts. Watching MICHAEL come toward them.

MICHAEL’S FACE as he walks. Everything that’s happened writ large in these eyes. Everything he’s done wrong. All the things he hasn’t done. Wounded and weary and humbled by the abundance of his inadequacies. It is to weep...

And finally he stops. Just standing there.


INT. THE TAURUS -- DAWN

(more stuff with the hitmen)


EXT. THE FIELD -- DAWN

MICHAEL standing there. The horses. The fog. The woods.

THE MERCEDES EXPLODES!

THE HORSES already running before MICHAEL can turn back -- pieces of the car that have been blown into the sky still raining down before he’s fully grasped what’s happening --

MICHAEL simply shocked. Senseless. Standing there frozen. Stunned. The car -- his car -- is gone -- replaced by a skeletal shell of fire -- smoke pluming -- little follow-up explosions popping every couple seconds. MICHAEL looks around. Looks back. He should be dead. He is not.

And now, as the reality of that sinks in, as the smell of burning car finally reaches him, we can see the confusion drain away. All that staggered chaos in Michael’s eyes suddenly replaced with steel. He should be dead. He is not.

And now he’s walking. *Toward* the car.

Walking faster. Determined.

He starts running -- running toward the fire and --


EXT. THE NEARBY ROAD -- DAWN

THE PARKED TAURUS. VERNE and IKER standing there --


EXT. THEIR POV -- DAWN

CLOUD OF SMOKE rising over the hill just in front of them. Thick black smoke wafting up above the fog, as --


EXT. FIELD/ROAD/BURNING CAR -- DAY

MICHAEL coming toward the car. Glancing around to make sure he’s alone. Wiping away at the smoke to get close. Recoiling as another little explosion fuels the flames and *he’s throwing things into the burning frame of the car!*

The Rolex. His cell phone. His belt. A ring. Throwing in
anything that might survive the fire and --


EXT. THE NEARBY ROAD -- DAY

VERNE and IKER have seen enough.

VERNE
Better check it out.


EXT. FIELD/ROAD/WOODS -- DAY

MICHAEL done throwing shit into the car. One last look around and now he’s running. Up into the woods. Scrambling up the mountain, toward the trestle, into the sun, as...




(waits for Mech and/or The Damaja to show up and call these "examples of bad/terrible/horrible writing")
______________________________________________________________________
Went to the shelf
and dusted off the A.K.

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...did those horses seem almost human? there was somethin eery about the way they were just calmly staring back at Michael. looked almost like they were silently judging him.

V.

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didnt get the bit with the horses. maybe it was like stopping to smell the roses?

also wanted a little more from the end. i always want to know what happened to everyone else.

Swinton should get an Oscar nod, and looking at the field, she might win. Wilkinson should get one as well, though with Bardem getting the reviews of a lifetime, it might be a moot point.

And let's look at Clooney's body of work over the past decade.

Out of Sight
The Thin Red Line
Three Kings
O Brother Where Art Thou
The Perfect Storm
Ocean's 11
Solaris
Welcome to Collinwood
Confessions of a Dangerous Mind
Intolerable Cruelty
Ocean's 12
Good Night and Good Luck
Syriana
The Good German
Ocean's 13
Michael Clayton

That's a hell of a list. Almost all of them are artistic stretches (minuses the bankable Perfect Storm and Ocean flicks), and he's still pretty good even in the not-so-good flicks. Plus, he directed Confessions of a Dangerous Mind AND Good Night and Good Luck, both of which I put in my Top 5 Films of the Year the respective years they came out.

The man is putting together a simply stellar career.

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Beautifully done on all levels. This is also, hands down, Clooney's best performance.

Don't get me wrong, it's still one of the best movies of the year but...

The car bombing bothered me. First off, showing the bomb to start the film took all of the tension out of the chase scene near the end. I don't get how some critics act like it was edge of your seat tension; you knew how it was going to end.

The other issue is the car bomb itself. These guys go to extremes to make sure Wilkinson's death looks like a suicide. Before the murder, they even tell Swinton that if it looks like they can't do it clean, they'll pull back and wait for a better time.

So what do they do with Clooney? They car bomb him in the suburbs of New York despite the shit not working properly (and they never go to check on whether they got him). In a film that was supposed to be so realistic, this really bothered me. You don't think a car bombing in the suburbs is going to call attention to him? How many car bombings are there in America?

And the film was tightly written but I felt like it had been done before and I was kind of disappointed that it ended with the standard "Admit to me what you did, oops, I'm wearing a wire!"

That being said, I still have it as one of the best films of the year.

----
NBA MOCK DRAFT #1 - https://thecourierclass.com/whole-shebang/2017/5/18/2017-nba-mock-draft-1-just-lotto-and-lotta-trades

>Don't get me wrong, it's still one of the best movies of the
>year but...
>
>The car bombing bothered me. First off, showing the bomb to
>start the film took all of the tension out of the chase scene
>near the end. I don't get how some critics act like it was
>edge of your seat tension; you knew how it was going to end.

I mean, the bombing isn't the end of the film. And I think the differences in the way we see the bombing from the beginning to when we see it in sequence are very important.


>The other issue is the car bomb itself. These guys go to
>extremes to make sure Wilkinson's death looks like a suicide.
>Before the murder, they even tell Swinton that if it looks
>like they can't do it clean, they'll pull back and wait for a
>better time.
>
>So what do they do with Clooney? They car bomb him in the
>suburbs of New York despite the shit not working properly (and
>they never go to check on whether they got him). In a film
>that was supposed to be so realistic, this really bothered me.
> You don't think a car bombing in the suburbs is going to call
>attention to him? How many car bombings are there in America?

They don't car bomb him in the suburbs, they wait til he's in the woods. AND we don't know if they go and check on him, because we don't see what happens after Michael runs away.


>And the film was tightly written but I felt like it had been
>done before and I was kind of disappointed that it ended with
>the standard "Admit to me what you did, oops, I'm wearing a
>wire!"

The way Clooney attacked her, I didn't feel like there was a wire going on until very shortly before it was revealed. I found myself questioning whether Michael really did want the money for his own purposes.

>That being said, I still have it as one of the best films of
>the year.

That we can agree on. LOL

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>I mean, the bombing isn't the end of the film. And I think the
>differences in the way we see the bombing from the beginning
>to when we see it in sequence are very important.

Personally, I still think it would have been better if they hadn't shown the car explode. They could have shown everything up until he gets out and I think the effect (in the beginning) would have been the same and the final chase scene would have been more tense. Honestly, I think they could have just cut the whole beginning out but maybe I'm missing something.

>
>They don't car bomb him in the suburbs, they wait til he's in
>the woods. AND we don't know if they go and check on him,
>because we don't see what happens after Michael runs away.

Fine, in a Rural area somewhere near a horse farm (unless I'm supposed to believe there are wild horses running around NY). Even still, it's a car bomb. That shit is going to draw attention.

And I thought it was pretty clear that the guys packed up and left. Could be wrong but they seemed to become pretty unprofessional as opposed to their last hit. I mean, why not just kill him in the car, drive off somewhere, and then drive the car off a cliff or something? A car bomb just seems ridiculous to me.

>The way Clooney attacked her, I didn't feel like there was a
>wire going on until very shortly before it was revealed. I
>found myself questioning whether Michael really did want the
>money for his own purposes.

He had already been bought though. The firm gave him his money and made him sign a non-disclosure agreement. He was already turning into Wilkinson's character (telling the guy he was nothing more than a janitor, refusing to really help, and then stopping by the horses). I knew him almost getting killed wasn't going to make him decide "Hey, maybe I can just ask for more money and they'll decide not to kill me." The tape was the only option he really had.

----
NBA MOCK DRAFT #1 - https://thecourierclass.com/whole-shebang/2017/5/18/2017-nba-mock-draft-1-just-lotto-and-lotta-trades

>
>So what do they do with Clooney? They car bomb him in the
>suburbs of New York despite the shit not working properly (and
>they never go to check on whether they got him). In a film
>that was supposed to be so realistic, this really bothered me.
> You don't think a car bombing in the suburbs is going to call
>attention to him? How many car bombings are there in America?
>


Probably part of the reason was that they had to kill Clayton the very night they got their orders (it was imperative that they did so because the settlement was going on at the law firm that very night), unlike Arthur where they had to a night to plan and killed him the next morning.

about he and his brother owing money to the mob. The restaurant/bar was financed by a mobster, those scenes with him and that old man ( obster bill collector), the scene with him borrowing money from the head of the law firm... A car bomb would have fitted right in as a mob hit, no one would have questioned it.

Loan sharks don't say you owe money and then blow you up right after you're late. (Nevermind that they aren't going to use a high-tech remote explosive device). The mob is smart enough to know that blowing up a lawyer in NY is going to call too much attention to them.

----
NBA MOCK DRAFT #1 - https://thecourierclass.com/whole-shebang/2017/5/18/2017-nba-mock-draft-1-just-lotto-and-lotta-trades

I thought the rest of the movie was going to be a lot better w/ a start like that. It was still good but I wasnt really blown away.

Even if he knew he was getting chased, why did he get out of the car?

That's the one question that bugged me and couldn't get over

And yes, it's all there in Clooney's performance
________________________________________________________________________
I'm gonna break down at fifty
And I'm not quite a stallion
I'm a good guy for a gal
And I'm mentally slipping

Did like the kid though. What was the character's name again? TonyGilroyThinksHe'sCleverasShit Clayton?

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http://preptimeposse.blogspot.com/

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Steph: I was just fooling about

Kyrie: I wasn't.


https://www.youtube.com/watch?v=R8OWNspU_yE

goes to show that something that has already been done can still be improved upon and, thus, artistically unique .. i enjoyed it quite a bit, & the only spot I'm left guessing on is the symbolism of the horses - and yes, I did read through the posts here ..

we are simply the Best