Critic Reviews

49

Metascore

Based on 34 critic reviews provided by Metacritic.com
88
Rolling Stone
This is Soderbergh's show, and a haunting and hypnotic show it is.
80
The Hollywood Reporter
Blanchett gets everything right -- the accent, her German dialogue, the weary sexuality (deliberately reminiscent of Marlene Dietrich) and the amorality her character has embraced.
75
Entertainment Weekly
The leisure-time viewer will say, ''Hey, this is sort of like "Casablanca," so why play it again?''
63
The Good German, Steven Soderbergh's film noir homage, is nearly perfect when it comes to style and tone, but it concentrates so single-mindedly on the mechanics of the narrative that it loses sight of its characters.
50
Variety
For actor and director, the project seems like trying on a new coat, and it doesn't fit either of them.
50
Soderbergh doesn't miss a trick, and for a while it's fun for us to share in his fun. But there comes a moment when his Euro-noir film turns into another sort of exercise for the audience: an exercise in boredom.
50
Steven Soderbergh is usually an inspired chameleon, perfectly suiting his style to his content. But The Good German is an ambitious miss...It's all very beautiful, high-minded, and remote.
50
How, then, does The Good German--adapted by Paul Attanasio from Joseph Kanon's novel--wind up so insubstantial, its impact lasting no longer than a cigarette?
50
Newsweek
Attempting a frame-by-frame duplication of Warner Bros. '40s filmmaking--even the extroverted acting style apes the period--Soderbergh has produced a movie so self-conscious that it's drained of all life.
40
Village Voice
However flavorsome though, The Good German is seriously deficient in the stars' star power and narrative excitement. The movie is lovingly framed, carefully lit, and fatally insipid. The direction is slack; the pacing is perfunctory.

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