Movie Review: Good Night And Good Luck

Now, forget for a moment that ANYTHING Hollywood has to say about something that actually happened is going to turn out looking like garbled bullshit, but sweet mother of pearl, the loony-lib moonbat reviewers just HAD to praise this waste of time and money.

Not the following review, and thank the heavens for SOMEONE with integrity:

"Not only was Good Night, and Good Luck filmed in black-and-white, it was written and acted that way, too. This is Good versus Evil for Political Dummies."-- Martin Scribbs, LOW IQ CANADIAN

"Have I ever seen a movie with less drama than Good Night, and Good Luck? Maybe some of the Andy Warhol-Factory experimental films of celebrities sleeping.

A close call, a toss-up. This film is so sure of its audience’s agreement and love that it keeps hitting the snooze button, lightly dozing throughout its entire running time.Not only was GNAGL filmed in black-and-white, it was written and acted that way, too.

The Dudley Doright heroes (those muck-raking journalists, missing only a PRESS card in their fedoras) have nary an aspersion cast on them throughout the course of the story, nary a weakness nor foible imputed.

The villains (Sen. Joe McCarthy and his boy wonder sidekick Roy Cohn) have as much depth as the Penguin or the Riddler.

This is Good versus Evil for Political Dummies. The $64,000 question, about which George C. seems not at all interested, is: Why did the country go along with Sen. Joe? The Communists, who it turns out actually existed and ran countries and advocated global takeover, are in GNAGL as mythical and harmless as the Smurfs. (”But Papa Stalin!” “Now, now, Trotsky Smurf…”) Should any audience member stay awake through the entirety of GNAGL, she still won’t draw a parallel between her times and those of Murrow because all the dangers in GNAGL are fake as a smile on a Monday morning.

What we need is a movie that shows a country facing real, palpable, snarling, breathing-down-your-neck dangers from without and still refusing to become reactionary. When America surmounts fear, it isn't one guy in front of a camera who's to credit, leading the lemmings away from the cliff. It's America to credit."

Murrow jumped on the hate-McCarthy bandwagon when it was already quite laden with lefties, and Clooney, dear clueless Clooney couldn't make a good movie if his life depended upon it, but it's a tribute to hollweird's appalling lack of concern for the truth that he can feature such an awful tale of revisionist history and be praised for it by the vast majority of whack-job critics.

And why do I expect more? Asking people to be professional is too much? I'm out of touch with reality? Asswipes actually watched this useless piece of shit and REALLY liked it? All of the above?