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Reviews provided by RottenTomatoes
Rene Rodriguez, Miami Herald: There isn't a moment in this self-conscious, uninvolving movie when you aren't aware you are watching an experiment, which might make a good lesson for film school students on what not to do. Read more
Moira MacDonald, Seattle Times: Interesting to watch, up to a point. The Good German gets lost amidst its references; it doesn't stand by itself but is held up by the films that inspired it. Read more
Michael Phillips, Chicago Tribune: A most peculiar and unsatisfying film. Read more
David Germain, Associated Press: Soderbergh, screenwriter Paul Attanasio and their colleagues get much of the mood and atmosphere down, but they fail -- or chose not to try -- to emulate the sense of wily playfulness that made old film-noir characters so rich and engaging. Read more
David Edelstein, New York Magazine/Vulture: Steven Soderbergh is usually an inspired chameleon, perfectly suiting his style to his content. But The Good German is an ambitious miss. Read more
Rex Reed, New York Observer: Where is Major Clark Gable now that we need him? Read more
J. R. Jones, Chicago Reader: I have to admire an ostensibly nostalgic entertainment that so concertedly undermines the romanticism of wartime Hollywood. Read more
Joe Morgenstern, Wall Street Journal: Mr. Soderbergh seems to have done everything within his power to keep the audience at arm's length. Read more
Eleanor Ringel Gillespie, Atlanta Journal-Constitution: Soderbergh wants us to see post-War Berlin as, in its way, another Chinatown a la Roman Polanski. Read more
Scott Tobias, AV Club: The Good German is...equally infused with knowing sophistication and a surprising amount of depth. Read more
Ty Burr, Boston Globe: The Good German is a movie wonk's triumph and no one else's. Soderbergh gets the visuals right but not the clean storytelling line of classic cinema, nor the iconic characters or moral certainty of the oldies. Read more
Carina Chocano, Los Angeles Times: In a few quick strokes, Soderbergh and screenwriter Paul Attanasio (working from a novel by Joseph Kanon) sketch a convincing scenario in which it is technically not possible for the good guys to win a war because good guys don't fight them. Read more
Amy Biancolli, Houston Chronicle: There's a line between homage and mimicry, and Soderbergh has crossed it. Read more
Peter Rainer, Christian Science Monitor: The Good German is a prime example of a movie made by highly skilled and intelligent filmmakers that nevertheless seems misguided from the get-go. Read more
Michael Booth, Denver Post: We get no heroes, not even flawed ones. Clooney, our marquee man, chases through numbing plot contortions only because of his lust for Lena. By the time The Good German ended, I had barely a clue if the good ones had lived or died. Read more
Tom Long, Detroit News: A history-based, murder-mystery war-yarn that goes round and round in circles. Read more
Lisa Schwarzbaum, Entertainment Weekly: On the meta level, Soderbergh has re-created not only the kind of story told in the 1940s, but the kind of technical production Hollywood gloried in more than half a century ago, too. Read more
Terry Lawson, Detroit Free Press: Everything about The Good German seems a few degrees off, as if the new map of Europe has somehow altered the latitudes along with attitudes. Read more
Chris Vognar, Dallas Morning News: It works, as homage to a particular time and place in film history, and as a knowing revision that brings Hollywood's subtext of '40s postwar corruption to the surface. The Good German isn't so much an imitation as a crafty modernization. Read more
Ella Taylor, L.A. Weekly: A few of Soderbergh's movies have foundered on a similar ironic detachment. The singular exception, Out of Sight, floated along on sexual electricity and warm movie love, but The Good German feels passionless, throttled by technique. Read more
Jan Stuart, Newsday: The Good German is Steven Soderbergh's game attempt to reinvigorate the dense intrigue of classic wartime thrillers like The Third Man with a contemporary, neo-noir edge. Read more
Stephen Whitty, Newark Star-Ledger: The movie's aesthetic is divorced from its sensibility. Read more
Jack Mathews, New York Daily News: If you feel anything other than admiration for its craftsmanship, let me know; The Good German is as emotionally cold and unconvincing as any movie I've seen this year. Read more
Roger Moore, Orlando Sentinel: This cast almost makes The Good German watchable. It's just that their screenwriter and director don't do them any favors. Read more
James Berardinelli, ReelViews: 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. Read more
Stephanie Zacharek, Salon.com: With The Good German, Soderbergh -- generally a terrific and creative filmmaker -- apes a style, and a way of seeing, that he clearly doesn't understand. It feels like a hit to the stomach. Read more
Mick LaSalle, San Francisco Chronicle: The crucial key elements that every vintage Warners film had as a matter of course are lacking here. The story isn't gripping or even coherent. There is no real romance. There's mystery, but only in a plot sense -- i.e., what's going on? Read more
Richard Roeper, Chicago Sun-Times: The photography is so beautiful, and the actors make brave choices, and Soderbergh's homage to the films he so obviously loves is done with such grace and passion -- so there's just enough that works to outweigh the major plot concerns. Read more
Rick Groen, Globe and Mail: A classic noir film demands a classic noir story, and Paul Attanasio's screenplay (based on the Joseph Kanon novel) just isn't up to the dark mark. Read more
Peter Howell, Toronto Star: The Good German is counterfeit coin in search of easy marks. Read more
Richard Schickel, TIME Magazine: The result is a movie that is never quite amusing but never quite mordantly thought provoking either. Read more
Todd McCarthy, Variety: The Good German has little of the luster, sheen and pictorial nuance of a top-flight Hollywood picture of the old school. Read more
J. Hoberman, Village Voice: The Good German is seriously deficient in the stars' star power and narrative excitement. The movie is lovingly framed, carefully lit, and fatally insipid. Read more
Stephen Hunter, Washington Post: Of The Good German, it can be said that the operation was a brilliant success, even if the patient is not merely dead but most sincerely dead. Read more