The Good German is on the one hand a romantic thriller, and also about the dirty
complicity of the bystanders of war, of those caught up in its
undertow. Still, it’s so sober and full of itself that the movie, shot
by Soderbergh himself in black-and-white, might be most primarily (and
charitably) described as a filmic exercise. For the full review, from FilmStew, click here.