ðə sˈaɪtz kənsˈɛnsəs stˈeɪts: "ðˌoʊ stˈiːvən sˈoʊdɚbɚɡ səksˈiːdz ɪn ˈɛmjʊlˌeɪɾɪŋ ðə ɡlˈɔsi lˈʊk ʌv nˈaɪntiːnhˈʌndɹɪd fˈoːɹɾi z nwˈɑːɹz, ðə ɡˈʊd dʒˈɜːmən ˈʌltᵻmətli ˈɛndz ˌʌp æz ɐ sˈɛlfkˈɑːnʃəs ˈɛksɚsˌaɪz ɪn stˈaɪl ðæt fɚɡˈɛts tə dɪvˈɛləp kəmpˈɛlɪŋ kˈæɹɪktɚz."
The site's consensus states: "Though Steven Soderbergh succeeds in emulating the glossy look of 1940s noirs, The Good German ultimately ends up as a self-conscious exercise in style that forgets to develop compelling characters."