Ken Levine has a nice post up on the new film Michael Clayton. I figured I could either leave a long comment there or post something here. This seems like the more appropriate venue for this many words.
Just to focus on the acting:
The look on Clooney's face while he's looking at the horses. (Plus this is a beautiful example of screenwriting without dialogue--if you've been paying attention, you have a very good idea of what's going through his character's mind, and why that look is on his face.)
Tom Wilkinson's timing and his vocal inflection as he says, "What are you?" to Clooney. (And another example of a screenplay as a structure, not just a bunch of good lines and scenes--it's a nothing line, but in context it means a lot. Interestingly, Ian Holm said basically the same thing in Big Night to Stanley Tucci, and to the same effect.)
Tilda Swinton rehearsing her speech, intercut with shots of her actually delivering those words in public. First fear and near-panic, then faux-warmth and sincerity. Wide emotional range, all believable.
Sidney Pollack looking so natural it doesn't look like he's acting. He is. Not much range compared to Swinton, but who cares? He fits the part perfectly.
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