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Corruption is such a nasty word. It is universally steeped in negative connotation, and is a term applied theoretically to a selfish, unjust misuse of power. Yet, realistically, this evil becomes hard to determine, and many attempts at justification can be made using alternate terms, such as "motivated" or "single-minded". Many of the best social dramas have explored this ambiguous area: in House of Sand and Fog (2003) an unfairly biased policeman was put to work, for once, for the supposed sympathetic protagonist, but we still didn't find it excusable; more recently, in the fiercely intense Contagion, the top doctor leaked confidential information in order to place his wife's chances of survival above the others – in this case, we can understand his position, but the injustice at hand here is still undeniable.

It is very unfortunate in society that the places where corruption is most prevalent are those in which justice and citizenship is supposed to be the absolute goal. Contagion and other similar films expose this in the medical industry, films like L.A Confidential (1997) in the police force, and now George Clooney, as both writer and director, has brought us another razor-sharp political drama that reveals how cutthroat and sinister working in the government can be, even if creating a "free world" is purportedly the overall goal.

Ryan Gosling portrays another robust yet ultimately inadequate young businessman attempting to excel in a challenging line of work. In Fracture (2007) it was the legal system, where, again, his character, Willy Beachum, faced this same temptation when his partners urged him to falsify evidence in order to put away a fiend that they knew to be guilty, yet could find no proof against. Willy resisted admirably, but Stephen Meyers, his more competent yet far less righteous character in The Ides of March, has rather weak moral resolve. He is the talented and favoured staffer of presidential candidate Governor Mike Morris (Clooney), a man whose political philosophies he genuinely supports, and is very anxious to see become president. However, Morris is a man who sticks firmly to his principles and is unwilling to make a strategic compromise. It is an insistence that frustrates Stephen, and indeed his entire team as they see guaranteed victory is within their grasp if he only concedes to endorse the slightly disagreeable Senator Thompson (although neither Jeffrey Wright nor Clooney exactly make it clear what it is that Morris dislikes about him). It is a case of breaking a few eggs to make a good cake, and as Morris continues refusing to do so, pressures mount, the opposition begins to gain the upper hand, and a highly riveting series of complications arises.

Audiences will be happy to hear that they will not have to sit through a ridiculous amount of dry, technical passages of dialogue, sift through needlessly enigmatic storytelling methods and poke and prod their way through murky themes in order to find value in the film. The broader ideas are not all it has to offer, but lie over the top of the solid story foundations to be properly examined upon the reflection that takes place after viewing, as they should. This piece also works as a slickly entertaining, enthralling crime thriller. For while the intricate world of politics can arguably be likened to a game of chess, as it is in the film, the pieces are not stone figures, they are real people whose entire lives become ruined when they are captured by the opposing side/ Seeing as beyond the point of the Senator Thompson dilemma, the plot involves a string of juicy surprises, I shouldn't really reveal much more. All I will say is that Paul Giamati, Phillip Seymour Hoffman, Evan Rachel Wood and Marisa Tomei all give exceptional performances as the key figures involved, and that each of their characters, and at one stage or another, harbours a deadly secret.

Clooney's direction is remarkably apt, particularly in a wordless scene in which Hoffman's character is given aggravating news from Morris inside his car, and we become cheeky onlookers from the outside, not even seeing their faces. He has also done well adapting beau Willimon's play Farrugat North with the help of Oscar-nominated screenplay writer Grant Henslov (Good Night, and Good Luck) and the playwright himself. His performance as Morris is fine work also, but, for the common audience at least, the film really belongs to Gosling, who proves once again that he is more than just an exceptionally handsome teen idol, but the most convincing and versatile young actor since Johnny Depp, with Max Minghella (The Social Network) and Jennifer Ehle topping things off beautifully as part of the supporting cast.

Ryan Gosling's at his best in dramatic roles and there's no exception here. As things unravel - that happens quickly thanks to the intense plot - Gosling decides that his ambitions are so important that he'll be willing willing to lose his soul. George Clooney has a very strong appeal, he's very convincing, his acting being almost perfect. "Ides of March" has very few flaws, the twists in the plot are not predictable and overall doesn't have any problems connecting with the viewers. Eventually, though there's no character to empathize with, the audience has the impression of a notable film noir, challenging us to come to terms with what politics is nowadays. I've seen intelligent filmmaking and a provocative moral fable.

You came here from the trailers and the clever poster campaign? Or maybe you came here because you love Clooney and the idea of him doing a political film appeals to you because you agree with much of what he puts his name behind? Or maybe you just decided to watch on a whim? Well for me it was the first two that put it in my mind but the third that saw me pick this from the queue recently. The publicity leave you in little doubt that this is a smart political movie while the names involved all point to something that is worth your time, expensive and very professionally put together. In terms of these latter qualities the film does deliver but it is just a shame that it is not as good as it looks in regards the former.

Let's deal with the superficial first. The film looks great and Clooney deserves credit for the job he has done here as it has a real sheen to it with really well designed shots and a real richness to the look (credit to the cinematographer of course). On top of this the score is just right – a little generic in its tone perhaps but it works and fits the film well. Naturally the cast features a collection of names and faces for whom quality is the norm and generally the film looks and feels like it is a really good product. The only place where it falls down is that it isn't quite as smart as it thinks it is. The story is fairly straightforward and the "message" (if that is the word) is equally simple; this puts a lot of pressure on the lead character of Meyers to be engaging and thrilling in his journey into the murky compromises and twists of politics – and this is the problem, it doesn't come over that way.

The solid plot holds the attention and the sleek presentation feels like velvet throughout but the real meat of the story here needs to come through Meyers and sadly the material just doesn't make this happen. In terms of narrative he has it, but in terms of heart and soul of the man, it is lacking and as a result the film is lacking. It shows in Gosling's performance; he is a good presence, easy to look at and follow but he doesn't have enough within him to lift the film. I watched A Single Man the other day, in which Colin Firth delivered a great and nuanced performance that carried that entire film – this needed Gosling to do that, but he didn't and/or couldn't with what he was given. Clooney is good in an easier role as are Hoffman, Giamatti, Tomei, Wright and others but they are the dressing around Gosling's character and as good as they look, they cannot hide the fact that the centrepiece just isn't as good as the trimmings suggest.

It isn't a bad film, indeed I quite enjoyed it as it went along, but it is a lot less satisfying than it looks like it will be. Really professional and polished but the heart of the message doesn't come out and the central character doesn't deliver as they should. Solid, but neither as sharp or as smart as it thinks it is or as it should have been.

George Clooney's 'Ides of March' could have been set in a corporation. Or a university. A family. But in fact it is set during a Presidential Campaign. Specifically a Democratic Primary in the state of Ohio. We've got two candidates. Each candidate has a staff. And more than the candidates, it's the politics between the staff members that forms the foundation of this story.

"I know something about you, so you'd better ... ' 'Ah, but I know something about YOU, so if you know what's good for you ... ' 'But what about the time that you ... ' 'Never mind me, what about you ... '

And so on. And so on. But most important, it works. It is compelling. The stakes get added to as the film progresses until the determination of the winning candidate will depend on nothing more than this back and forth of power.

I liked 'Ides of March'. A lot. I thought that Philip Seymour Hoffman and Paul Giamatti were perfect as opposing campaign managers; each more unlikeable than the other. Ryan Gosling as a younger campaign official is fine (though I think that the role was not as demanding as others). As one candidate, director George Clooney is at his handsome, well-spoken, best. If there is a weak-link, it's Evan Rachel Wood as a campaign intern with more on her mind than election strategies.

Though ten years old, the film and its story, its conflicts, its undercurrent of grime, it all seemed wholly relevant today. I recommend that you see it.

Greetings again from the darkness. Political thrillers can be so juicy and filled with "gotcha" moments and "oh how could he/she" scenes. Inevitably, most come down to an "I believed in you" showdown and reckoning. This latest one based on the play Farragut North by Beau Willimon, gives George Clooney an opportunity to play out his political aspirations without opening himself to the real thing.

Clooney also directs and the smartest move he made was assembling an ensemble cast of some of the best actors working today. Clooney plays Pennsylvania Governor Mike Morris, who is one of two still-standing Democratic Presidential contenders on the verge of the Ohio primary. His Campaign Manager is grizzled campaign veteran Paul, played with staunch principals and black and white rule book by Philip Seymour Hoffman. Their talented and idealistic Press Secretary Stephen is played by Ryan Gosling. Their opponent's manager Tom Duffy is played by Paul Giamatti. Duffy oozes cynicism and seems to have lost the rule book that Paul holds so dearly.

The film begins with the set-up so we get a feel for just how strong or weak of character each of these men are. Morris (Clooney) is obviously an Obama-type idealist who claims his religion is the US Consitution. He says this while gently poking fun at his opponent's Christian beliefs. We see just how talented Stephen (Gosling) character is at handling the words that Clooney speaks and we see Paul (PSH) in full back room politico maneuvering.

The film has two huge points where the mood swings. The first is a contrived, definite no-no meeting between the ambitious Stephen and the shrewd Duffy. The second is a sequence between Stephen and a 20 year old campaign intern named Molly (Evan Rachel Wood), who also happens to be the daughter of the Chairman of the DNC. These two events turn the film from political thriller to melodramatic Hollywood fare. That doesn't make it less of a movie, it's just different than it began.

Cat and mouse games ensue and we see just who is the master manipulator amongst a group of professionals. This is one of those films where the individual pieces are actually more interesting than the whole pie. There are two really excellent exchanges between Gosling and Hoffman. Ms. Wood steals her scenes with ease. Jeffrey Wright nails his brief time as a desperate Senator negotiating the best deal possible. Giamatti's last scene with Gosling is a work of art. The only thing missing is a confrontation between Giamatti and Hoffman. THAT alone would be worth the price of admission.

You might be surprised that Clooney actually minimizes the political meanderings, though he does get in a few jabs at the Republicans. This is more character drama ... how far can your ideals and morals carry you. What is your breaking point? Where is the line between realist and idealist? Is it betrayal if you act for the right reason? The final shot of film is superb. Et tu, Brute.