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Michael Clayton (HD/DVD Combo) [HD DVD]

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'The truth can be adjusted' is the official tag line for this brilliant film MICHAEL CLAYTON, a film that deserves and demands audience attention to appreciate all of the layers of complexities of thought and message while delivering a slick, brooding, polished piece of cinematic art. First time director is highly regarded writer Tony Gilroy (The Bourne Ultimatum, The Cutting Edge, The Bourne Supremacy, The Bourne Identity, The Devil's Advocate, Proof of Life, Dolores Claiborne, etc) who understands the tension of suspense films and here adds to that entertainment element the key ingredients of social and philosophical statements. It is a film that works on many levels.

Michael Clayton (George Clooney, in one of his finest moments) is a lawyer with a major firm headed by tough yet compassionate CEO Marty Bach (Sydney Pollack, finally in top form as an actor), but Michael's position in the firm has been reduced to a 'fixer/janitor', a man who cleans up messes that are always part of legal cases. Michael is cool, brilliant, but is struggling with his own demons of gambling addiction, inherited debt from covering for his wasted alcoholic/druggie brother's failure as a restaurateur, and a divorced man trying to relate to his son. When a long term law suit against a major chemical corporation comes to a head, the chief lawyer for the case Arthur Edens (Tom Wilkinson) falls victim to the pressure of the case, and while he holds the key to the truths involved, he disintegrates into a manic depressive state. The chemical company's lawyer Karen Crowder (a brilliant Tilda Swinton) struggles to please her Board of Directors in a plea bargain that is backed by all manner of lies and crimes. It is Michael Clayton that persists in 'fixing' and cleaning up the case, uncovering a massive tragedy the company has been shielding. To say more (and there is SO much more to tell!) would spoil the development of this nail-biting plot.

Every actor involved in this film is superb, thanks in large part to the sensitive direction of Tony Gilroy. Clooney proves he is one of our more well rounded actors on the screen today, Wilkinson continues to prove his mettle as a character actor par excellence, and Swinton is so fine in this tough role that she leaves the audience staggering. Watching MICHAEL CLAYTON restores faith in just how fine Hollywood movies can be. It is sure to be on the list in many categories come Awards time. Grady Harp, October 07

George Clooney once again shows us the Hollywood powerhouse he is as lead actor and producer of this engaging film.

While the film is essentially well-written and extremely well-acted, it offers nothing new to the corporate thriller genre and most of Amazon's comments in their review are dead on accurate. The film is essentially a mystery that involves corporate baddies trying to screw over the little guy by covering up a danger to the public. We've seen this plot before in film's like Erin Brockovich. In addition, we have a conscience driven lawyer who is tired of defending criminals he knows are guilty and another lawyer who is burnt out from playing the firm's "Janitor" and now wants to find some moral ground to land upon. Both lawyers are seeking some kind of redemption. The first has a nervous breakdown finding it and the second is forced to find it as his life spirals out of control. This is very much like Paul Newman's Oscar nominated role in the fabulous film The Verdict.

The script is clever, but all too predictable by the final third of the film. In fact, as generally satisfying as the finale is, it is something of a letdown too. Things are wrapped up far too neatly for what was a complex film with deep round central characters. Clooney's character has his nature revealed to us slowly as if peeling a rotten onion. Each layer is ultimately unsatisfying until we get to the core which seems damaged, but salvageable. I certainly expect another Oscar nomination for him and it's well-earned here. Tom Wilkinson as the manic depressive attorney who has an epiphany that his corporate clients should not get away with what they are doing is a bit over-the-top and even stereotypical, but still convincing in the end. A supporting Oscar nod is not out of the question, but I think he would be undeserving of it. Contrary to a majority of the reviews here, even Tilda (The Chronicles of Narnia) Swinton's controlling corporate bigwig who lies to herself to justify her actions is a deeper character than most give credit for her being. Her avoidance of actually saying, "Kill (fill in the blank)" coupled with her sweating fit scene clearly demonstrates a believably conflicted individual. I would not be surprised to see an Oscar nod for supporting actress come her way. Even Sydney Pollack, sometimes director (but better actor), is very convincing here and he also serves as co-producer with Clooney. These generally terrific performances nearly make up for a somewhat flat ending.

Credit must be given to first time director James Gilroy who adapted the "Bourne" books to film and wrote the screenplay for this film. He handles his actors well in that he knows what he wants, but also trusts their instincts to deliver what they believe are their character's true emotions. His directing style in unobtrusive and that greatly benefits this particular kind of film. His lack of coming up with a more complex, less tidy ending is his only major flaw in this otherwise outstanding film that is certainly worth your trip to your local theater or Blockbuster when it becomes available on DVD.

Tony Gilroy has already proven that he can weave/write a great story via his writing for the "Bourne" franchise. And the striking thing about "Michael Clayton" is how Gilroy has written ironic, conflicted, complicated characters that are at once "good" (and in the world that Gilroy has created here...this is in itself a term that is up for interpretation) yet are often bad as in unethical, mean, misanthropic. These characters can and do betray themselves and others: There's no one to truly love or hate, from Sydney Pollack's quietly devious law firm CEO, to Tom Wilkinson's holy madman of an ace courtroom defense attorney, to Tilda Swinton as a tricky senior partner in nice suits that peel off to reveal sweaty armpits and a gift for rationalization. Even our hero, Michael Clayton as portrayed by George Clooney is a loser: a 12 year veteran at his law firm who is utilized as a bag man, a fixer usually dispatched to do what amounts to private eye work.: cleaning up the firm's client messes. Clayton is a failure both professionally and personally: a failure as a father, brother, husband and Clooney strikes just the right notes here as Clayton struggles, fights to regain his dignity both as an officer of the court and more importantly as a father and a human being.
The central plot revolves around a large chemical firm's responsibility for sickness and deaths in a farm community and because Gilroy weaves and bobs among the big ensemble cast and among the various plot points, I was hard pressed to figure out just exactly what was going on for the first half hour. But this is to Gilroy's credit: he refuses to foreshadow or explain thus adding texture and ambiguity to the film.
Moral and social dilemmas multiply as "Michael Clayton" races to its exciting denouement: a denouement that satisfies both emotionally and morally. Yet all is not as it seems here as Gilroy manages to leave a small festering wound of deceit and decay not quite healed: ready to re-open and re-infect itself.

***1/2

If "Michael Clayton" didn't seem like quite so obvious a rehash of Sidney Lumet`s "The Verdict," I might be inclined to recommend it more highly. The basic premise of both films revolves around a dissolute legal type who achieves personal redemption when he lands on the "right" side of a class action lawsuit. Since imitation is the sincerest form of flattery, the best thing to be said for the makers of "Michael Clayton" is that, if they had to find a movie to emulate, they at least chose one worth emulating.

Michael Clayton is no longer a practicing attorney himself but rather a "fixer" or "bagman" for a powerful legal firm, a man whose job it is to troubleshoot or run interference for any potential problems that might arise in one of its many cases. As with most such protagonists, Clayton spends so much time at his job that he doesn't have much of a personal life going for him: he's a divorced father with a serious gambling problem, a drug-addicted brother, and a failed business that has him in hock to the tune of $80,000. One of the firm's biggest clients is a chemical company whose powerful weed killing formula has allegedly resulted in serious medical conditions and even death for some of the farmers and their families who've come in contact with it. Clayton is called into action when the lead attorney for the defense suddenly goes berserk at a taped hearing, stripping off his clothes and launching into a Howard Beale-like rant for the other side. As he delves further into the case, Clayton undergoes a metamorphosis from cynical corporate water-carrier to enlightened populist do-gooder, finding personal redemption and fulfillment by helping the common man in his fight for justice.

"Michael Clayton" is, for the most part, a solid legal thriller, serious, intelligent and extremely well-served in the acting department. The "little man vs. vile corporation" theme has been pretty much played out by this time, but there are enough twists and turns in the plot and enough decent red herrings to keep us interested at least on a superficial level. The story goes through periods of murkiness when it isn't always clear what exactly is going on, but writer/director Tony Gilroy manages to straighten out most of the confusion in time for the finale. The moody score, bleak winter settings and dank cinematography all contribute to the chilly atmosphere that permeates the film.

In a role tailor-made for his acting style - stoic yet heartfelt, rugged yet vulnerable - George Clooney carries the weight of the film on his sturdy shoulders. The gifted Tilda Swinton doesn't fare quite so well with her character - a ruthless, emotionally unstable career woman with no personal life and no romantic prospects, a character, quite frankly, that feels just a trifle out-of-date in the year 2007. Tom Wilkinson, Sydney Pollack and Michael O'Keefe excel in minor roles.

"Michael Clayton" is a proficient, professional legal drama that never cuts as deeply or touches the heart as profoundly as one would like for it to do. Still, compared to most other cinematic offerings around at the moment, this is substantial, if not exactly sumptuous, movie going fare.

"Michael Clayton" is a magnetic, engaging film, with a plot so intriguing that you find yourself absorbed within the first five minutes. Here's a story that can't be defined by a single genre; while it is above all a drama, so much more is being presented. Parts of it work like a thriller while other parts work like a social commentary, and these in turn make for a pseudo-morality play that requires a little extra observance on the audience's part. And that's a good thing, simply because not all stories should make everything clear. This film is intelligent, not only because the plot relies on strategic obscurity, but also because logical thinking is needed in order to understand it. This is not an escapist film--absolutely nothing will be hand delivered to us.

George Clooney plays the title character, and he gives Clayton a restrained yet powerful presence that was truly fascinating. This is no small task, considering the direction his life is going in: Clayton was once a highly respected trail lawyer, but his talent for negotiating has reduced him to take an unrecognized, poorly paid position. He basically does the dirty work for one of New York's most prestigious law firms, co-owned by Marty Bach (Sidney Pollack). Clayton cleans up legal messes by talking directly to plaintiffs and defendants and striking up deals. Clayton considers himself a janitor, a Mr. Fix-It, a miracle worker; he bends the rules in exactly the right ways to avoid exactly the right people. When it comes to other people's problems, he's the one everyone turns to.

But when it comes to his own problems, he needs a lot of help. A gambling addiction is established, as are financial problems--he owes quite a bit of money on a failing bar, which is co-owned by his drug-addicted brother, Timmy (David Lansbury). For obvious reasons, Clayton was forced to finance the business by himself, which required him to hock virtually every item he owned. On the bright side, he has a fairly good relationship with his son, Henry (Austin Williams), who greatly enjoys reading fantasy novels. Clayton drives Henry to school one morning, and on the way, Henry raves about the book he's reading, explaining each character's significance with childish zeal; Clayton listens, realizing that his son is actually giving an insightful description of life in general. It was a brief but wonderful scene proving how casual profound statements can seem.

The film's main focus is a legal dispute between Clayton's law firm and a chemical company (which happens to be Bach's most important client). Coming to its defense is Karen Crowder (Tilda Swinton), a litigator whose career depends on negotiating a multimillion-dollar settlement. But this will not be so easy to accomplish; attorney Arthur Edens (Tom Wilkinson) complicates matters by interfering with the case. He believes that the chemical company is responsible for poisoning the population, and he claims to have the evidence to prove it. Because his conscience is guilt-ridden over keeping his mouth shut, he loses his rational state of mind, becoming a manic, paranoid, and seemingly incomprehensible wreck. A severe emotional spasm was caught on tape--while at work in Milwaukee, he stripped completely naked, after which he ran through the parking lot.

Thus begins a taut, suspenseful, and compelling quest for the truth. Part of the quest leads to the discovery of Anna (Merritt Wever), a young woman who lost some of her family to the chemical poisoning. For some bizarre reason, Edens feels responsible for her, and he shows this through incessant phone calls and cryptic messages. Clayton is initially unwilling to believe anything Edens has to say, simply because he's acting erratically. But as the film progresses, he begins to question himself. Could Edens have been on to something? Is it possible that his odd conversations were more than mere ramblings? Was he sane, after all? Unbeknownst to Clayton, getting the answers to these questions will mean endangering Edens' life.

Crowder, meanwhile, is busy on her own quest, which turns out to be more stressful than she anticipated. There are key shots in this film showing her in panic mode: she hyperventilates in a hotel bathroom, her hands shaking, her armpits soaked with sweat. There are also moments of her standing in front of a mirror, practicing her speeches; most of these shots are inter-cut with actual meetings, in which a subtle yet significant lack of confidence undermines her delivery. Swinton made this character her own, turning Crowder into one of the film's most fascinating characters. A quiet desperation is visible on her face, and it's obvious that she's trying to hide it. She wants to be a professional: shrewd, capable, and strong-willed, unwilling to back down from a challenge.

The fact that I can gather this much from so few characters is a good sign. A clear, specific level of character development is vital for a film like "Michael Clayton," especially since the genre spectrum is broad. Well-defined characters make for a much more engrossing story; thank goodness this film includes a number of them. And despite what some people say, a complicated plot is not necessarily a deterrent. This film proves that some stories need to be richly detailed, if not for clarity, then for establishing the climactic finish. The ending of "Michael Clayton" is one of the year's most satisfying, a perfect blend of deception and emotional resolution. That alone makes the film worth recommending.

I really enjoyed this film. When it was over, I wanted to see it again (always a good sign) and look more closely at certain scenes. There is such a pervasive gray backdrop to the movie that you might think you're watching something from Ridley Scott and it works nicely here. We're talking about dark nights of the soul, so I don't think it's an accident that many scenes take place at night, and if it's daytime it's gray. There's little in the way of cheery sunshine to comfort us.

George Clooney is Michael Clayton, a lawyer for whose specialty is janitorial work-- he cleans up nasty situations that often require calling in favors from the right people to make things disappear. With corporate accountability at an all-time low in the real world, everything that U/North (his firm's big chemical company client) is trying to do is quite believable, even murder. After being called in to help clean up a potential $6 billion mess, Clayton's biggest asset (anonymity) becomes his biggest liability-- even the bad guys he's trying to help don't know who he is, which makes him a target too.

The result is a very hairy four days for Clayton. Every character we bump into is sweating tension from every pore because everyone is plugged-in in some way. Everyone has something at stake, especially Clayton himself. Tom Wilkinson plays Arthur Edens, chief lawyer on the $6 billion lawsuit who's off his meds and apparently three fries short of a Happy Meal... or is he? Clayton's job is to get him back on track before all hell breaks loose, but maybe there's no way off this rollercoaster except by jumping.

A great movie starts with a great script. Great scripts tend to attract great actors. The combination of the two often means great performances. Sprinkle some good direction over the concoction and you've got a winner. I think you'll enjoy this one.

"Michael Clayton" is a truly excellent film, although it wasn't quite what I expected it to be. George Clooney plays the title role of Michael Clayton, an attorney who is a "fixer" for a high-profile law firm. Basically, his job is to make sure that everything goes right for the firm all the time. Michael is obviously very good at his job, but it's also apparent that he's unhappy. In addition to all the stress he deals with at work, Michael is divorced and suffers from financial troubles as a result of a failed restaurant he owned with his deadbeat brother.

Everything starts spiraling out of control when Arthur, one of the firm's top lawyers (Tom Wilkinson), has a complete meltdown while representing a chemical company in various lawsuits. Michael comes to his friend's aid and attempts to minimize the impact that the breakdown will have on the firm. It turns out that there is a huge cover-up to deny payments to people who were injured by the chemical company's products, and Michael tries to uncover the truth in order to put the company in its place and also find a way to redeem himself and every shady thing he's helped cover up in the past. Unfortunately, the chemical company refuses to let anything stand in its way, and its ruthless attorney (Tilda Swinton) will stop at nothing to make sure the conspiracy is kept under wraps, even if it means eliminating people like Albert and Michael.

This is a great, great film. I was pleasantly surprised by how understated it was. Unlike so many movies that feel the need to throw in an action sequence or explosion every 35 seconds, "Michael Clayton" relies on an incredibly smart script that keeps the audience thinking instead of just relying on a bunch of special effects. The cast is amazing, particularly Wilkinson and Clooney, who both deliver Oscar-worthy performances. The film also managed to make me laugh on several occasions, which is quite an accomplishment considering its incredibly grim mood. (The final Clooney/Swinton scene where Michael snaps, "How about a picture to go with it?" is hilarious!)

If you're in the mood for a really smart, chilling film that is so brilliantly unlike any other thriller out there, then "Michael Clayton" is a must-see.

This is a well-written and more importantly, well-acted movie that keeps viewers on their toes from start to finish. Michael Clayton [George Clooney in yet another of his trademark brooding roles] plays a 'janitor', a fixer of messes and awkward situations at a law firm run by Marty Bach [Sidney Pollack in a fine performance]. One of this messes involves getting his respected, but manic depressive colleague, Arthur Edens [a very credible Tom Wilkinson]back on track after the latter is charged for indecent exposure whilst at a deposition involving a chemical company.Arhtur's character is quite complex - he decides that his conscience will not allow him to represent the chemical company anymore, and turns out he has been working against the very people he is supposed to represent. Michael's firm is not the only one who wants Arthur under control. Tilda Swinton plays a highly ambitious Karen Crowder, lead counsel at UNorth , the chemical company being represented by Michael's law firm and is utterly ruthless when it comes to protecting her position at the comapny. Her character is played almost flawlessly by Swinton-her nervous gestures,her obsessive compulsiveness, the conflict between doing what is ethical and what is right for her, all of these are portrayed in a very credible manner.

The story really gets off the ground after a main character dies, and the action starts to pick up pace, leaving viewers wondering how everything is going to be set right, if ever.

The plot is quite convoluted, but well-written so that viewers are able to follow the disjointed storyline. The cast of main characters are all complex and flawed people, even Michael himself, and the excellent quality of acting really elevates the movie to above average.

All in all, this is a simmering potboiler of a movie that will intrigue and invite reflection.

(this review contains some spoilers)

I went into the theater to see this movie with high expectations. I'd just read several glowing reviews that all predicted, accurately, that the movie would be nominated for several academy awards, and I was excited to see another movie starring George Clooney, who has been one of my favorite actors since I first saw him on ER. But after seeing it, I left disappointed.
This is not a bad movie, and I did enjoy it. It just didn't feel like there was enough of a plot to make a feature film--I think it would have made a great episode of Law and Order or something. To start off, the movie is anchored around cliches-- the main character is a burnout, his personal life has some problems, he works for a big corrupt company-- and then after all the fuss, he wins the fight by recording the bad guy's big speech where they admit to breaking all kinds of rules on a hidden tape recorder-- never seen that before. And on top of that, for whatever reason, a big part of the end of the movie is actually shown in the beginning, which just takes away what little surprise the explosion had in its proper context.
Overall, my biggest complaint about the movie is that it is so overhyped. Maybe it's just something I'm not getting, but I didn't think it was that great.

As we exited the theater, my friend said, "George was good, but I don't think he will win an Academy Award for that role". When I asked why she stated, "Because the role is very similar to the character he played in "Syriana". She has a point, but my argument is that in "Syriana", his character was one of many. In "Michael Clayton", he is the center of the film and it is very much the leading performance. The role and the film have Oscar stamped all over them.

Michael Clayton (Clooney) is THE troubleshooter at a large law firm in New York. He facilitates everything the firm's clients need, to make sure they remain happy customers, willing to pay huge retainers. But he doesn't practice law anymore and this is beginning to wear him down. When the bar he has invested his life savings in closes and he still owes the backers $75,000, he realizes he shouldn't have placed so much confidence in his younger brother, the manager of the establishment. As he deals with his financial problems, Arthur (Tom Wilkinson), the lead attorney on the firm's biggest case, representing a chemical company called U-North, goes a little crazy. Michael is called in to bail Arthur out and to placate the clients. But Arthur insists the case is faulty and U-North is really guilty. And he won't shut up about it. When the lead counsel for the large company, Karen Crowder (Tilda Swinton) gets wind of this, she realizes her position and the company's impending settlement may be in jeopardy, so she decides to take action. As Michael gets more involved with Arthur's problems and the U-North case, his boss (Sydney Pollack) has to deal with a merger to a British law firm. Everything each of these people is doing or working on is part of an elaborate dominoes puzzle; if one piece falls, every other piece will follow. And everyone will do everything in their power to make sure a single piece doesn't cause a chain reaction.

Tony Gilroy, the writer of the "Bourne" films, makes his directorial debut with "Michael Clayton". The film has a lot of story threads enmeshed throughout the film; it takes a while to get these going, but once Gilroy does, we realize the wait has been worth it. Because he takes such great pains to set-up each of these story threads, making each believable and interesting, when we realize they are all part of the larger story, it makes the final film very engrossing and even a little thrilling.

"Clayton" is the type of film that shows extraneous bits of each character's lives. Initially, as we watch these moments play out, they help to provide interesting details about the character's lives, but they don't really seem to have a lot of connection to the story. Then, as the story progresses, these moments become related, in a superfluous way, helping to make us more interested in the characters. For instance, we first see Michael Clayton at an auction. We quickly get the idea they are selling off the various supplies in the restaurant, trying to make money, to repay the debt for the now closed restaurant and bar. We soon learn Michael was the main backer for the restaurant and its closure has left him deeply in debt. We also learn his brother was the manager behind the failed enterprise. All of these various elements help to color every action Michael makes through the remainder of the film. I really enjoy this type of exposition, because it makes the characters seem richer and more interesting. When I see this type of thing happening, successfully, it also raises my hopes for the film in general.

It is also refreshing to watch Gilroy's work as a director. Much like his writing, he is clearly going for something different. In the "Bourne" films, the writer gave us a lot of detail about the characters while orchestrating Bourne's fight for the truth about who he actually is. Interestingly, the films share only the most basic premise with the books. In "Clayton', the writer and director achieves the same effect in a more subdued film. Michael is in danger throughout the film, but he isn't a spy with amnesia, he is a lawyer, living in New York, dealing with a lot of problems. They are very different characters but created in a similar fashion.

As Gilroy introduces the various threads of the story, he makes us wait until he is ready to show us how they all fit together. This may be maddening for some, but I wouldn't have it any other way. Real life doesn't lay out all the details in a set fashion. Real life is messy and "Clayton"'s story reflects this.

All of the performances throughout the film are outstanding.

Clooney's character is similar to the role he played in "Syriana" in that both men are reluctant heroes who are out to discover the truth. But in "Syriana", Clooney's role was one of many characters with similar goals. It is a good performance, worthy of the attention it received, but it is a Supporting Performance. Because Michael Clayton is at the center of the new film, Clooney has more screen time, allowing him to develop the character more fully. We can see Michael's frustration with his current position in society because he has a lot to be frustrated about; broke, deceived by a family member and unhappy with his job; he is desperate to make a change. His job allows that, because he is a Fixer, someone who makes things happen. Having done this job for so long, he has contacts and his character is slightly tarnished. He isn't above doing something slightly illegal if he believes he won't be caught.

So when he starts to deal with the problem named Arthur, he seems slightly surprised to find himself investigating the same leads his friend did. Why is he trying to prove U-North is guilty? They are the firm's biggest clients. If they lose money, the firm loses a big client, a client it would be difficult to replace with the history of this loss following them. He has brief moments when he realizes what he is doing and they shock him, he isn't normally this person. Where did this person come from?

But he soon realizes this large company made many, many people sick and they shouldn't get away with it. That is what spurs him into action. Arthur was right.

Tom Wilkinson does a great job with the role of Arthur. This is the type of role that could so easily become a hammy showcase for an actor's bravura skill, but Wilkinson makes the character believable by making him more restrained, giving him moments of clarity, allowing him to think ahead of all of the other people in the story.

We first see Arthur in a Minneapolis jail. U-North is based in this city and Arthur snapped during the deposition, ripping his clothes off, while the video camera is rolling. Naturally, as lead counsel, U-North is very nervous about their case, which is why Michael is sent in, to smooth things over. Initially, Arthur just appears crazy, as though someone who has spent 10% of his or her life defending someone who is guilty, really guilty, would feel. But as Arthur talks, and he talks a lot, some of the things he says start to click in Michael's thoughts.

Throughout, we see glimpses of the lawyer Arthur used to be. Arthur tells the people at U-North he has a document that will all but win the case for the plaintiffs. He goes so far as to read it on the phone, when he realizes he is being bugged. These moments, juxtaposed with the "crazy" moments- after being out of touch for a while, Michael spots Arthur walking back to his loft carrying a bag filled with over a dozen fresh baked baguettes, helping Wilkinson create a character who is almost mesmerizing to watch. We rarely see someone like this in a film and Wilkinson's performance makes the character all the more unusual and interesting.

Tilda Swinton's Karen Crowder, Chief Counsel for U-North, is the villain of the story. Even though all of the characters have definite shades of gray, she is the force behind all of the bad things happening throughout the story. Much like Wilkinson's character, she brings different layers to the role, making her more than simply a villain. If she were just the villain, she would be fun to watch, but because she has these extra elements to her character, she is even a little sympathetic.

Karen is the Chief Counsel for this large company. She has nothing else, no husband, no children; every waking moment is about protecting this company that has given her the keys to the kingdom. Her boss, played by Ken Howard, has trusted her with this position, a powerful role in a large company generating billions every year, and she must do her best to reward his trust. As a woman, she feels she has to show everyone she is in contact with how powerful she is and prove it on a constant basis. The company used to be run by men, so she has to blend in. She likes the power and wants to maintain it, so she goes to great lengths to paint a portrait of power and determination.

All of this is great, and helps to make Karen a forceful personality in the film. But as we get more and more glimpses of this character, we realize she is very unsure, very afraid of losing her job, her power, and her image. Early on, we see this woman, this definition of successful businessperson, in her hotel room airing out her extremely sweaty armpits, trying to dry them out before a big presentation. This woman in nervous. Why is she so nervous? Is she nervous about her abilities? There are other moments revealing the vulnerabilities of this character, showing us this woman who is so determined to appear powerful is really very scared. As we learn more about both sides of this character, we see she is at conflict with her self and she becomes even more interesting.

Sydney Pollack, who also serves as one of the film's producers, plays Michael's boss. It is the least interesting of the four roles, but it serves it's purpose. His character is the head of an extremely large law firm, working a very large case, who must juggle many different responsibilities, keeping all of the balls moving.

"Michael Clayton" is part espionage thriller, part human drama, part "Erin Brockovich". But it works on all three counts. There is a particularly memorable scene in which one of the threats to the case is dispatched in an efficient manner unlike anything I have ever seen in a film. Each of the characters has strains on their life outside of the job, adding to their development, making them seem more human, more vulnerable. And the case at the center of the film, while fictionalized, is no doubt based on an actual incident, giving Michael Clayton many of the same aspects as Julia Robert's Oscar winning character.

"Michael Clayton" is a very good film, on all counts.