Review: Michael Clayton

Send in the Clayton.

Is there anything that George Clooney can do that won't attract the adoring public? Whenever we he's teaming up with Stephen Soderbergh and making another "Ocean's" film, we line up to see the impressive cast. When we hear he's starring in a controversial indie film, we have no problem giving him an Oscar. Even when he gets into a motorcycle accident, we have no problem whatsoever giving him our attention for very little reason. However, Clooney now gives us a reason to pay attention to him with this enticing, suspenseful, and yet occasionally tiring film.

Clooney plays the title character, a former hero at a district attorney's office who now has basically been reduced to cleaning up the messes of rich, white clients who don't want to spend that two weeks in jail. He's now been assigned to a case where the leading litigator for an insurance company's law firm has experienced, what can only be perceived, as a psychotic breakdown. Michael thinks that he's just off of his meds, but Arthur, played by wonderful Tom Wilkinson, knows the real truth about everything that company stands for, and why he feels he must speak up. Tilda Swinton is another lawyer attached to the case, who is more or less the watcher of everything but has a fragile personality herself. All of this, of course, boils up to a big climax where we are dazzled by the ending.

In actuality, that never fully happens, but that doesn't mean we aren't satisfied with this film. Writer-director Tony Gilroy knows how to set this kind of movie up. Even in the first few minutes as we are bombarded with an grand voice over monologue from Wilkinson, we can tell the writing is a style that tries to elevate itself and critique the world in gray areas instead of black and white. That style is nice, but usually lets itself into too many of these one man shows for Wilkinson and it can get a little tiresome. Gilroy the writer is much more accomplished that Gilroy the director ("Michael Clayton" is his directorial debut), who seems to know how to write a scene but doesn't know how to guide the actors through it with major success.

Clooney is Clooney, of course. No matter what, we will be drawn to him. And, very surprisingly, Michael is a character that possesses the qualities of being interesting and boring at the same time, and usually in the wrong places. There is almost a sense that there is greater depth and mystery to him when he is struggling through everyday life, but when the mayhem and mischief start to unravel, he feels distantly cold and lets his co-stars work their magic.

Speaking of, Tom Wilkinson is an actor I deeply respect, but I must lament a tad disappointment. Wilkinson is never really given a chance to really let his character develop. It always feels as if we just get the crazy man turned vigilante who continues giving strange speeches about being born out of an asshole and thinking about complex legal matters to take his mind of the two prostitutes performing fellatio. Still, Wilkinson has an aura about him that still makes him attractable. Swinton also does a fine job in a role that most would have played as cold as ice. She is human, and shows some weaknesses and it is refreshing to see that type of character being brought down to another level. Even director/casual actor Sydney Pollack (a producer on the film) has some entertaining trade-offs with Clooney.

If you walk into "Michael Clayton" expecting a top notch thriller that critiques our current failures in the legal system as well as engaging us in a suspenseful plot, then you will be disappointed that the former is significantly missing. However, "Michael Clayton" offers an escape that movies generally do provide. It is two hours of pure popcorn entertainment that indulges us in watching our favorite Hollywood bachelor with an Oscar to show for it. *** / ****; GRADE: B.