By Sachiko Shiota

Two months after the Academy Awards, the much talked-about films are finally arriving in Japanese theatres, with Michael Clayton and Atonement released on the same day and more to come. On one hand, we are spared the merciless studio campaigning that precedes the Oscars, but on the other, there is still the “Winner of X Academy Awards!” splashed over posters, prodding us to appreciate the film.

In the midst of all this, is it even possible to judge film on its own merits? Michael Clayton certainly received a generous amount of attention, securing the most acting nominations of the year, and a supporting actress win for Tilda Swinton. Only time will tell how well the film will hold up, but it’s safe to say that in spite of all the hype, the film has fared well, due to its strong performances and popular politics.

George Clooney plays the titular character, a fixer in a law firm. A “janitor” by his own admission, his job is to bury dirty deeds and smooth over problems of the rich and powerful. When Arthur (Tom Wilkinson), a manic-depressive lawyer colleague, has an episode during an important deposition and subsequently does a runner, Michael must step in to appease both his both his boss (Sydney Pollack) and Karen (Swinton), the in-house counsel of the company Arthur is representing. No easy feat when you’re saddled with a huge debt, a dysfunctional family, and a gambling problem.

Clooney has always seemed like a natural leader and a man to root for, but there’s something slippery about his charm and handsomeness—suaveness that betrays a touch of grease. He finds a perfect fit in Michael Clayton, a role that allows him to be the good guy, the bad guy, and the cool guy all at once. His performance never errs on the side of heroic righteousness; the audience is filled with tension because we can’t be sure that he’ll do the right thing just because he has a conscience.

Meanwhile, Karen takes matters into her own hands when she realizes that Arthur has switched sides, quietly building a case against her very guilty company. Swinton presents a chilling portrait of a woman discovering previously untapped reserves of character—as in aggression and deviousness. She is so deeply mired in the corrupt system, she never questions keeping up the charade.

Wilkinson is heartbreaking as Arthur, conveying his breakdown with an almost childlike clarity. Even when uttering a line as ridiculous as, “I am Sheba, the god of death”, his desperation and disillusionment come through. On the run, he walks around New York, staring in innocent wonder at the bright, colorful lights as if seeing them for the first time. He’s a world away from the sleek but muted building he works in, an area that is shot as if through as if through dirty dishwater.

This may be Tony Gilroy’s directorial debut, but his gigs as screenwriter of the excellent Bourne Identity trilogy have served him well. He assuredly weaves the multiple storylines together, maintaining the suspense but also eschewing the rigidly precise timing of so many thrillers. He gives his scenes ample time to unfold, and his characters are not secondary to the intricacies of the plot. The film certainly received a generous amount of attention at this year’s Academy Awards, receiving the most acting nominations of the year and securing a supporting actress win for Swinton.

The Japanese posters for Michael Clayton urge you to “not miss the astounding showdown that happens in the last 10 minutes”, and indeed, it’s an exhilarating, bravura scene that packs a wallop, providing a satisfying, emotional closure without ever seeming like a copout or a compromise. So believe the hype—but see for yourself first.