Charlotte Observer by Lawrence Toppman

It'll preach mainly to the choir - lazy thinkers won't attend, despite George Clooney's attachment as director and actor - but maybe it'll wake a few sleepers.

Chicago Sun-Times by Roger Ebert

The other key character is McCarthy himself, and Clooney uses a masterstroke: He employs actual news footage of McCarthy, who therefore plays himself.

Baltimore Sun by Michael Sragow

You go to Good Night, and Good Luck expecting inspiration, and you get it. It's also unexpectedly subtle, tense, and challenging, complex both in its take on its subject and in its craftsmanship. So the movie brings you to your feet - and, at times, to tears.

Dallas Observer by Jean Oppenheimer

A riveting movie that's as entertaining as it is socially and politically important.

USA Today by Mike Clark

The only things missing from making this showdown worthy of a Western is Murrow's sheriff's badge, a dusty street and maybe a spittoon for McCarthy's infamous invectives.

Newsweek by David Ansen

It's a passionate, serious, impeccably crafted movie tackling a subject Clooney cares about deeply: the duty of journalism to speak truth to power. It also happens to be the most compelling American movie of the year so far.

New York Post by Lou Lumenick

Vividly re- creates TV news icon Edward R. Murrow's historic face-off with Sen. Joseph McCarthy in devastatingly low-key detail -- is the right movie at the right time.

New York Daily News by Jack Mathews

The biggest little movie of the year - and one of the best ever about the news media.

Seattle Post-Intelligencer by William Arnold

A paragon of subtlety. Yet this message is exactly what we carry out of the theater, and it lingers on with a powerful resonance.

The New Yorker by David Denby

This is an elegant and stirring entertainment about the hard-drinking, hard-smoking reporters of "See It Now," the show that Murrow and the producer Fred Friendly put together every week.