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Soderbergh uses 1940s studio filmmaking to investigate the dark deeds only hinted at in those classic films.
Kirk Honeycutt
Hollywood Reporter
The seamless mix of archival footage and sets is much superior to what was possible in 1945 Hollywood. The murky shadows and slightly smudged look of the cinematography -- by Soderbergh under the pseudonym Peter Andrews -- fit the old style, as well as the theme of darkness reaching out to blot the light. The editing -- also by Soderbergh under another pseudonym -- keeps things moving right along at a let's-get-to-the-point speed that even Jack Warner would have admired.

Spies, Lies and Noir in Berlin
Manohla Dargis
New York Times
Steven Soderbergh attempts to resurrect the magic of classical Hollywood, principally by sucking out all the air, energy and pleasure from his own filmmaking.

The director has included footage of Berlin after the war shot by Billy Wilder and William Wyler, for verisimilitude and (why not?) good luck.
Carina Chocano
Los Angeles Times
In a few quick strokes, Soderbergh and screenwriter Paul Attanasio (working from a novel by Joseph Kanon) sketch a convincing scenario in which it is technically not possible for the good guys to win a war because good guys don't fight them.

But, as it turns out, you can't play it again, Sam.
David Ansen
Newsweek
"The Third man." "Casablanca." "Notorious." These great 1940s movies, and many more, will come to mind while you're watching "The Good German," and for good reason. Steven Soderbergh's black-and-white melodrama may be brand new, but it is a '40s movie, right down to the typography used in the credits and the big Thomas Newman score.

External Links:
Official Website: TheGoodGerman.com