The Ghost Writer

I'm not a big fan of political thrillers, but this was just a fine old-school job. A ghostwriter who walks in the shadow of his predecessor, perhaps more than he would like. McGregor’s bored writer’s face leads us through the whole story in a pleasantly unpleasant way, more mysterious than the contents of a British minister's desk drawer. Brosnan wholeheartedly relishes the opportunity to play an arrogant politician, and even the legendary Eli Wallach grins into the camera. Polanski directs with precision and Alexandre Desplat has composed such a full, delightful soundtrack that I will give it the fifth star with peace of mind. - Do you do any sports? - Not really. (07/23/2010)

A well-directed old-school paranoia that more than its engaging plot and unprecedented drive, uses minimalist sets, a gloomy atmosphere and other Polanski filmmaking devices and proprieties to tell a thematically well-supported story, which might make one smile at how the master has it all figured out and in control, but could have been much more entertaining and brisk. (01/13/2017)

I almost want to give it more stars, because I haven't seen such a seemingly peaceful, yet every minute more incredibly dramatic and suspenseful film in a long time. Apart from Brosnan and McGregor and the precise direction of Master P., worth highlighting is the truly good music by Alexandre Desplat, the role of Eli Wallach (how does an old man still do that?), the slowly escalating atmosphere and the final quarter of an hour. I'm giving it four and a bit. (09/08/2010)

Very well crafted, with a gloomy rainy atmosphere, but pretty much about nothing, unfortunately. Given how relatively (unnecessarily) long it is, it almost lacks a twist or a climax. It has a lot of politically biased commentary, but only one tense scene. I must say that Polanski has quite disappointed me with this film. When it comes to tension, it’s only a weak tea of the genre’s best, though with great execution. Compared to this year’s Shutter Island, The Ghost Writer is the clear loser. (07/08/2010)

It's not really rocket science, as we learn at the end, but Polanski pulls the viewer along very skillfully throughout. The cold and distant atmosphere created by the weepy weather and one architecturally ornate house works. It's not classic "schizophrenia," but McGregor's paranoia grows to unsuspected proportions as the minutes tick by, especially with the equally excellent ensemble cast around him, and I waited for the climax with the eagerness of a small child. The handing of the tickets is one of the most intense scenes of the year. 4 ½. (06/19/2010)