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Reviews provided by RottenTomatoes
Michael Phillips, Chicago Tribune: It's one of the most satisfying films of the year, recalling a classy breed of studio film more common in the 1970s and the early '80s. Read more
Moira MacDonald, Seattle Times: This is Gilroy's first film as director; I can't wait to see what he's got next. Read more
J. R. Jones, Chicago Reader: This doesn't begin to deserve the Oscar nominations it's likely to get, but I had a good time with it nonetheless. Read more
Joe Morgenstern, Wall Street Journal: The pieces come together into a stirring portrait of a man reclaiming his soul from a scrap heap of discarded principles. Read more
Nathan Rabin, AV Club: In an accomplished directorial debut, Gilroy gives the film a shadowy, autumnal hue and combines image and sound in sometimes surprising and ingenious ways. Read more
Bill Goodykoontz, Arizona Republic: Smart and exciting, Michael Clayton takes the audience on a ride whose pleasures almost sneak up on you and are all the more satisfying because of it. Read more
Ty Burr, Boston Globe: Clooney, for his part, allows his movie star looks to go flabby and soft (all things being relative, of course), and he buries the performance way down in his gut. Read more
Kenneth Turan, Los Angeles Times: With the George Clooney-starring Michael Clayton, [Tony Gilroy] has not only saved his best script for himself, he's also turned out a smart and suspenseful legal thriller that comes completely alive on-screen. Read more
Peter Rainer, Christian Science Monitor: Without [Clooney], and without some fine playing from Wilkinson and from Sydney Pollack as the firm's lead partner, Michael Clayton would be glossy claptrap. Read more
Lisa Kennedy, Denver Post: Confident in the story's power and the moviegoers' intelligence, Gilroy uses only one explosion to own our rapt attention. Read more
Owen Gleiberman, Entertainment Weekly: When critics complain about the dumbing down of movies into franchise popcorn, what we're really doing is yearning for a terrifically engrossing, tethered-to-the-real-world drama like Michael Clayton. Read more
Chris Vognar, Dallas Morning News: If Michael Clayton's particular mix of law and commerce gets a little murky, that murkiness also gives the film a shadowy aura. Read more
Amy Nicholson, I.E. Weekly: Clooney's glamorous intelligence is deepened by his constant hints that slickness, like corporate integrity, is just an act. Read more
Jan Stuart, Newsday: It's invigorating and impressive on a formal level, but ultimately wearying. Read more
David Denby, New Yorker: Clooney looks a little worn, and the shagginess becomes him. He gives a beautiful, modulated performance, and he's never been more likable. Nor has he ever had better lines. Read more
David Edelstein, New York Magazine/Vulture: Clooney is as good as he has ever been. Read more
Stephen Whitty, Newark Star-Ledger: It's about issues of personal responsibility and moral duty. Read more
Jack Mathews, New York Daily News: Every performance in this film is spot-on. Read more
Lou Lumenick, New York Post: There are more than ample rewards for discerning adults: Some of the best dialogue in a recent movie and a gallery of unforgettable performances. Read more
Rex Reed, New York Observer: Michael Clayton literally knocks its brains out trying to be clever, but it ends up being the same kind of smart-alecky filmmaking most of Mr. Clooney's movies are famous for. Read more
Roger Moore, Orlando Sentinel: Stop printing the ballots. Don't waste money on those "for your consideration" Oscar ads. There is but one contender for best supporting actor this year, and it is Tom Wilkinson in Michael Clayton. Read more
Carrie Rickey, Philadelphia Inquirer: The filmmaker, best known as the scribe of the Bourne trilogy, wears both director and writer hats here, and the results are electrifying. Read more
James Berardinelli, ReelViews: Michael Clayton builds to a fitting conclusion and doesn't need surprise twists or cheap theatrics to get to that point. Read more
Roger Ebert, Chicago Sun-Times: It is just about perfect as an exercise in the genre. I've seen it twice, and the second time, knowing everything that would happen, I found it just as fascinating because of how well it was all shown happening. Read more
Stephanie Zacharek, Salon.com: George Clooney's subtle, affecting performance is the chief reason to see this super-sincere social drama. Read more
Mick LaSalle, San Francisco Chronicle: The ultimate showcase for the defining male lead of our time. Read more
Dana Stevens, Slate: Tony Gilroy's Michael Clayton feels so fresh, so smart, so different from the standard-issue legal thriller that it isn't until nearly an hour in that you notice how conventional a movie it actually is. Read more
Colin Covert, Minneapolis Star Tribune: A throwback to trim, intelligent moral thrillers like The Verdict and Absence of Malice. Read more
Liam Lacey, Globe and Mail: Instead of the typical John Grisham-style connect-the-dots legal thriller, we get a film that's idiosyncratic, with a time-shifting structure, a surfeit of subplots and characters. Read more
Geoff Pevere, Toronto Star: While the plot is complex in the telling, it unfolds onscreen with propulsive fascination. Read more
Richard Schickel, TIME Magazine: Full of plausible characters who are capable of surprising - and surpassing - your expectations. Read more
Brian Lowry, Variety: [A] lack of fireworks makes Michael Clayton refreshing in a sense, eschewing traditional white hats and black hats for more realistic shades of gray. Read more
Robert Wilonsky, Village Voice: It will no doubt be said time and again of Michael Clayton: best John Grisham adaptation ever. Read more
Ann Hornaday, Washington Post: This uncommonly intelligent thriller evokes the great films of the 1970s (All the President's Men, Klute, Three Days of the Condor) that managed to elicit gritty urban realism while maintaining a suave sense of style and moral complexity. Read more