Good Night, And Good Luck movie review, George Clooney, David Strathairn, Robert Downey Jr., Patricia Clarkson. Review by Rob Blackwelder ©SPLICEDwire
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A scene from 'Good Night, And Good Luck.'
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"Good Night, And Good Luck."
93 minutes | Rated: PG
LIMITED: Friday, October 7, 2005
Directed by George Clooney

Starring David Strathairn, George Clooney, Robert Downey Jr., Patricia Clarkson, Jeff Daniels, Tate Donovan, Ray Wise, Frank Langella, Alex Borstein, Robert John Burke, Reed Diamond, Tom McCarthy, Glenn Morshower, Katherine Phillips Moser, Grant Heslov, Matt Ross

  • George Clooney
  • David Strathairn
  • Robert Downey Jr.
  • Patricia Clarkson
  • Jeff Daniels
  • Frank Langella
  • Alex Borstein

  •  LINKS for this film
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    at Internet Movie Database
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    Rob Blackwelder

    By Rob Blackwelder

    After a bold, darkly absurd and surprisingly assured directorial debut with 2002's "Confessions of a Dangerous Mind," I was gung-ho to see George Clooney's new film, "Good Night, and Good Luck." A politically charged black-and-white drama about reluctantly crusading journalist Edward R. Murrow's career-defying and career-defining challenge to the communist witch-hunts of the 1950s, the film almost never leaves the visceral situation-room tension of CBS's news studios, as weeks of news reports beget vehement rhetorical replies that bear chilling similiarity to the propaganda of the powerful in preset-day Washington. Star David Strathairn provides dry, decisive nobility to his spot-on portrayal of Murrow (Clooney, Robert Downey, Jr., Jeff Daniels and Patricia Clarkson play co-workers), but the most resounding screen presense is McCarthy himself. Clooney (who co-wrote the meticulously fact-based script with actor Grant Heslov) cast no actor to play the now-disgraced senator, but instead uses only real footage of his committee hearings and his rebuttal appearance on Murrow's "See It Now" (in its entirety). Unquestionably, "Good Night" is a commentary on the dangerous direction American politics seems headed, and the film accomplishes this masterfully. But while Clooney's superb command of cinematic language is impressive after only two films as a director, this movie's laconic, matter-of-fact style (a deliberate choice, probably designed to sidestep right-wing accusations of editorializing or embelishment) leaves no room for character development outside of a throwaway subplot about two CBS employees keeping their marriage to each other a secret.

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