Directed, shot, and edited by Steven Soderbergh and written by Rebecca Blunt, Logan Lucky is the story of a trio of siblings who try to end their family’s streak of bad luck and underachievement by robbing the Charlotte Motor Speedway and hope they don’t get caught by the FBI. The film marks a return from Soderbergh following a four-year break from films as he returns to a genre that has brought him success and mixing it with humor. Starring Channing Tatum, Adam Driver, Riley Keough, Katie Holmes, Hilary Swank, Sebastian Stan, Katherine Waterston, Seth McFarlane, Jack Quaid, Brian Gleeson, Dwight Yoakam, and Daniel Craig. Logan Lucky is an exhilarating and whimsical film from Steven Soderbergh.
The film follows two brothers whose lives haven’t gone well as they conspire with their younger sister about stealing money at the Charlotte Motor Speedway with the help of an incarcerated safecracker they know. It’s a film with a simple premise with some complexities and intrigue yet it is about a family trying to change their fortunes and hope to give themselves a better life. Yet, they know they can’t do it by themselves as it’s not just this safecracker they need but also his brothers who aren’t very smart but are dependable. Rebecca Blunt’s screenplay does follow a simple three-act structure as the first act is about the Logan family with the eldest in Jimmy (Channing Tatum) was once a promising football star until his right knee gave out as he works in construction and wanting to be a good dad to his daughter Sadie (Farah Mackenzie) whom he has shared custody with his ex-wife Bobbie Jo Chapman (Katie Holmes).
Yet, he would be laid off due to insurance liabilities relating to his knee as it add to his growing misfortunes that would include his younger brother Clyde (Adam Driver) who lost part of his left arm in the Iraq War and is wearing a prosthetic while working as a bartender. The first act doesn’t just play into the Logans’ misfortune and Jimmy’s motivation to rob the Charlotte Motor Speedway but also wanting to change it as he knows what to do, where to steal, and when as they recruit their younger sister Mellie (Riley Keough), the incarcerated safecracker Joe Bang (Daniel Craig), and Bang’s younger brothers Sam (Brian Gleeson) and Fish (Jack Quaid). The second act isn’t just about the heist but also how Joe and Clyde, who would put himself in prison to help Joe, break out and later get back in to serve their sentences but there are also complications as it relates the day of the heist forcing Jimmy to change plans. The third act is about its aftermath where the no-nonsense FBI agent Sarah Grayson (Hilary Swank) come in and figure what is going on as she would prove to be a match for all involved.
Steven Soderbergh’s direction is definitely stylish in some respects in terms of some of the compositions and set pieces he creates yet much of it is still straightforward as it play into the simple world of a trio of unfortunate siblings. Shot on various locations in North Carolina as well as Charlotte including the Charlotte Motor Speedway and parts of the Atlanta Motor Speedway. Soderbergh does use the locations to play into this world of the American South as it is set mainly in the border between West Virginia and North Carolina where Jimmy did some of his construction work in the latter though he lives in the former. Soderbergh would emphasize on a simple approach to the compositions such as the opening scene of Jimmy fixing his truck while talking to Sadie about a John Denver song. It’s among these moments where Soderbergh can bring so much by doing so little which would also include a key scene of Sadie doing her pageant performance as the simplicity of the shots are captivating in establishing what is happening but also would serve as a key motivation for the few involved in that scene.
Also serving as cinematographer and editor in respective pseudonyms as Peter Andrews and Mary Ann Bernard, Soderbergh’s approach to the visuals as there are some stylistic approach to lighting for some of the interiors and scenes at night whether it’s the usage of dark-yellowish colors or something natural for some scenes set in the daytime. Soderbergh’s editing does have style such as this usage of dissolves in a montage for some characters during the third act but also in some stylish cuts as it play into the heist and its aftermath. The heist sequence has elements of comedy but also intrigue into the attention to detail of what is going on and how they get the money but there’s also some twists and turns along the way such as what is happening at the prison Joe and Clyde are serving at. Soderbergh would also infuse bits of comedy as it relates to a snobbish British businessman in Max Chaliban (Seth MacFarlane) who would rile up the Logan brothers but also put himself into some serious shit. All of which play into two sets of siblings trying to pull off a heist without having the authorities wonder who it is. Overall, Soderbergh crafts as mesmerizing and fun film about a trio of siblings trying to rob the Charlotte Motor Speedway to end their family curse.
Production designer Howard Cummings, with set decorators Barbara Munch plus art directors Eric R. Johnson and Rob Simons, does brilliant work with the look of the homes that some of the characters live in as well as the interior of the tube system inside the Charlotte Motor Speedway. Costume designer Ellen Mirojnick does fantastic work with the costumes from the dresses that Sadie wears for her pageant as well as some of the stylish clothing that Mellie wears. Visual effects supervisors Christina Mitrotti and Lesley Robson-Foster do terrific work with the visual effects as it relates to Clyde without his prosthetic as well as a few set dressing scenes. Sound designer Larry Blake does excellent work with the sound as it play into the way the tube system sounds from the inside as well as the scenes at the race track. The film’s music by David Holmes is amazing for its electronic-jazz score that has a lot of energy in the way it play into the suspense and humor with some blues and rock in the mix while music supervisor Season Kent provides a fun soundtrack of blues, rock, and country from artists and acts like Bo Diddley, John Denver, the Groundhogs, Lord John Sutch, John Fahey, LeAnn Rimes, Dr. John, and Creedence Clearwater Revival.
The casting by Carmen Cuba is great as it feature some notable small roles and appearances from real NASCAR racers Carl Edwards and Kyle Busch as state troopers, Jon Eyez as an inmate friend of Joe in Naaman, Kyle Larson as a limo driver, LeAnn Rimes as herself singing America the Beautiful, Brad Keselowski and Joey Logano as security guards, the trio of Jeff Gordon, Darrell Waltrip, and Mike Joy as themselves commentating the race, Charles Halford as a friend of the Logans in Earl, Macon Blair as Grayson’s partner, Jim O’Heir as Jimmy’s boss early in the film who reluctantly lays him off, David Denman as Bobbie Jo’s husband Moody Chapman, Boden and Sutton Johnston in their respective roles as Moody’s sons Dylan and Levi, Ann Mahoney as a woman working security named Gleema, and Sebastian Stan in a terrific small role as NASCAR racer Dayton White who tries to live a healthy lifestyle despite working for Chaliban.
Katherine Waterston is fantastic in a small role as a former classmate of Jimmy in Sylvia who runs a mobile clinic where she gives Jimmy a tetanus shot. Dwight Yoakam is superb as Warden Burns as a prison warden who tries to uphold some order during a prison riot that lead to Joe and Clyde’s brief escape. Jack Quaid and Brian Gleeson are hilarious in their respective roles as Joe’s dim-witted brothers Fish and Sam as two guys who aren’t smart but are still guys who can get the job done. Katie Holmes is wonderful as Bobbie Jo Chapman as Jimmy’s ex-wife who is still bitter about Jimmy’s shortcomings as she is also concerned about her daughter’s performance at the pageant. Farrah Mackenzie is brilliant as Sadie as Jimmy and Bobbie Jo’s daughter who is entering a beauty pageant as she turns to her Aunt Mellie for help while wondering what song to sing at the pageant. Hilary Swank is excellent as Sarah Grayson as a no-nonsense FBI agent who arrives in the film’s third act as she knows something is up but is also aware that whoever stole the money are a lot smarter than anyone realizes.
Seth MacFarlane is a joy to watch as Max Chaliban as a pretentious businessman from Britain with awful hair and a mustache who insults the Logan brothers as well as try to get his racer to drink his awful energy drink as he is just fun to watch. Riley Keough is amazing as Mellie Logan as a hairdresser who doesn’t believe in the family curse but is aware that the family hasn’t done great as she helps her brothers with the robbery in her own way while being there for her niece Sadie for the upcoming pageant. Daniel Craig is incredible as Joe Bang as a safecracker who is doing time in prison that knows how to open safes while Craig is given the chance to be funny and charming as he is a joy to watch. Adam Driver is marvelous as Clyde Logan as a former Iraq War veteran with a prosthetic left arm who also works as a bartender where he is reluctant to be part of the bank robbery as he had gotten arrested before as a kid yet is hoping to reverse the family curse. Finally, there’s Channing Tatum in a remarkable performance as Jimmy Logan as a former football star turned construction worker who decides to rob the Charlotte Motor Speedway in the hope to change his family fortunes but also give his daughter a chance for a future as it is a low-key but charismatic performance from Tatum.
Logan Lucky is a phenomenal film from Steven Soderbergh. Featuring a great cast, gorgeous visuals, a killer music soundtrack, and a witty take on the caper/heist film. The film is definitely one of Soderbergh’s most entertaining films but also one that is full of engaging characters and moment that are full of heart and joy. In the end, Logan Lucky is a spectacular film from Steven Soderbergh.
Steven Soderbergh Films: sex, lies, & videotape - Kafka - King of the Hill - The Underneath - Gray’s Anatomy - Schizopolis - Out of Sight - The Limey - Erin Brockovich - Traffic - Ocean's Eleven - Full Frontal - Solaris (2002 film) - Eros-Equilibrium - Ocean’s Twelve - Bubble - The Good German - Ocean’s Thirteen - Che - The Girlfriend Experience - The Informant! - And Everything is Going Fine - Contagion - Haywire - Magic Mike - Side Effects - Behind the Candelabra - (Unsane) – (High Flying Bird)
The Auteurs #39: Steven Soderbergh: Part 1 - Part 2
© thevoid99 2018
One of the key figures who would kick-start a new wave of American independent cinema in the 1990s only to become a major player in American cinema. Steven Soderbergh is a filmmaker who makes a diverse array of films that often plays to people’s struggles with the realities of their situations and how they overcome it. Whether it’s in polished studio releases or offbeat, experimental film pieces, Soderbergh always keep people guessing into what he would make. While he has retired from the world of filmmaking in 2013, there is no question in how much of an impact Soderbergh has made for cinema.
Born on January 14, 1963 in Atlanta, Georgia to an university administrator/educator in Peter Andrew Soderbergh and a house wife in Mary Ann Bernard, Steven Soderbergh spent much of his childhood moving in various places in the American South before finally settling in Baton Rouge, Louisiana where his father was the Dean of Education at the University of Louisiana. In his teens, Soderbergh became fascinated with the world of filmmaking as he would make a bunch of 8mm short films with equipment from the school as he would hone his craft during those years. Especially as he became influenced by an array of filmmakers such as Richard Lester, Terry Gilliam, and many others. After graduating from high school in 1981, Soderbergh went to Hollywood in an attempt to forge his career as a filmmaker but things eventually didn’t go well as he would work in odd jobs in the industry as well as being a freelance film editor.
Part one covering 1985 to 2000 can be read here and part two covering 2001 to 2014 can be read here at Cinema Axis.
© thevoid99 2014
Directed, shot, and edited by Steven Soderbergh and written by Lem Dobbs, Haywire is the story of a spy who is betrayed by her organization as she seeks revenge while uncovering a conspiracy that is going against her. The film is an action-thriller where a woman whose job was to help a company as she realizes that there’s more at stake as she is a pawn of a big scheme. Starring Gina Carano, Ewan McGregor, Michael Fassbender, Channing Tatum, Michael Angarano, Antonio Banderas, and Michael Douglas. Haywire is a stylish yet entertaining film from Steven Soderbergh.
The film is an exploration of betrayal where a woman, who is hired by a private organization to retrieve hostages and kill targets, becomes part of a conspiracy where that organization tries to get rid of her. While it is a premise that is very simple, it is a film that is about a group of people who try to play a scheme where those of power become either corrupt or be caught off guard. Lem Dobbs’ screenplay doesn’t just explore what governments do to take care of situations but how certain individuals are willing to compromise them. In the middle of this is Mallory Kane (Gina Carano) who is just someone that does her job as she learns she is betrayed when an assignment she reluctantly takes part in is merely more of an attempt to eliminate her.
The first half of the story is about Kane being betrayed and what does she do as the narrative is largely told in flashback after a meeting a colleague has gone bad as she takes a hostage and tells him what is going on. The second half is about Kane exacting her revenge and why she gets betrayed as it involves all sorts of things about government involvements. Especially as it plays into ideas of capitalism and corruption in a world where the rules are changing and some in the old order are out of the loop. These things would motivate Kane into not just take action but also confront those who are running the show.
Steven Soderbergh’s direction is very stylish not just in his approach in creating a film that is thrilling and action-packed. It’s also a film where it’s quite engaging in the way the mystery unfolds and how it’s being told. Shot in various locations in two different continents, the film has something that feels big but also very intimate in some of the compositions that Soderbergh makes. Much of it involves close-ups and medium shots while some of the action scenes are presented in wide shots such as a chase scene in Dublin involving cops as there’s an intricacy to the way Soderbergh presents the sequence.
Serving as cinematographer in his Peter Andrews alias and editor in his Mary Ann Bernard alias, there are some unique images to the look of the film in terms of how the interiors are lit while Soderbergh uses a lot of blue filters for the scenes set in upstate New York. Soderbergh’s editing definitely has a lot of unique rhythms in the way the action and fights are presented yet he keeps it straightforward in order to maintain the air of suspense. Even as it would lead to confrontations and questions about the way the world works. Overall, Soderbergh creates a very intelligent yet riveting thriller about a woman going after those who betrayed her.
Production designer Howard Cummings, with set decorator Barbara Munch and art director James F. Oberlander, does excellent work with the look of the home where Kane‘s father lived in as well as the government offices and house that Kane goes to with a MI-6 agent. Costume designer Shoshana Rubin does nice work with the costumes as most of it is casual with the exception of the dress that Kane wears for a party. Visual effects supervisor John Kennedy does terrific work with the few visual effects shots in the film such as a scene in upstate New York where Kane tries to evade the police. Sound editor Larry Blake does fantastic work with the sound from the way punches and kicks are heard to the sound of sirens in some of the film‘s action scenes. The film’s music by David Holmes is brilliant for its mixture of funk and jazz to play into the energy of the film with some electronic pieces for the suspense and drama.
The casting by Carmen Cuba is amazing for the ensemble that is created as it features some notable small roles from Anthony Brandon Wong as a hostage Kane had to retrieve and Mathieu Kassovitz as a businessman that Kane and her MI-6 colleague Paul had to target. Michael Angarano is terrific as a young man named Scott that Kane takes hostage in the film’s first half as he learns about what she is doing. Michael Fassbender is excellent in a small role as a MI-6 agent named Paul who is part of the scheme to betray Kane. Antonio Banderas is brilliant as a Spanish contact named Rodrigo who is trying to watch over the international interest for the U.S. in terms of what is happening. Bill Paxton is fantastic as Kane’s father John who knows what his daughter does as he is aware of what is happening as he does whatever it takes to fool those who have betrayed her.
Channing Tatum is wonderful as a colleague in Aaron who only knows Kane for about a week after an assignment as he’s asked to deal with her where he would question about what is going on. Ewan McGregor is superb as Kane’s former boyfriend/contractor Kenneth who is trying to make some moves while getting Kane to accept a job that he needed. Michael Douglas is incredible as the government agent Coblenz who is this ambiguous figure as he is someone that is trying to watch over everything while being unaware of things that are happening. Finally, there’s Gina Carano in a remarkable performance as Mallory Kane as this woman who is trying to leave her job as she copes with being betrayed as it’s a performance that has Carano display some charm while kicking some ass at the same time.
Haywire is a phenomenal film from Steven Soderbergh that features a fantastic performance from Gina Carano. The film isn’t just a smart action-thriller but also a compelling film about the way governments and private firms deal with things in a world that is becoming very complicated. In the end, Haywire is a marvelous film from Steven Soderbergh.
Steven Soderbergh Films: sex, lies, & videotape - Kafka - King of the Hill - The Underneath - Gray’s Anatomy - Schizopolis - Out of Sight - The Limey - Erin Brockovich - Traffic - Ocean's 11 - Full Frontal - Solaris (2002 film) - Eros-Equilibrium - Ocean’s Twelve - Bubble - The Good German - Ocean’s Thirteen - Che - The Girlfriend Experience - The Informant! - And Everything is Going Fine - Contagion - Magic Mike - Side Effects - Behind the Candelabra - Logan Lucky - (Unsane) - (High Flying Bird)
The Auteurs #39: Steven Soderbergh: Pt. 1 - Pt. 2
© thevoid99 2014
Directed and edited by Steven Soderbergh and written by Lem Dobbs, Kafka is the story of an insurance worker who finds himself in the middle of a secret war involving two underground organizations who are wreaking havoc in 1919 Prague. Inspired by the works of Franz Kafka, the film is a mixture of a mystery thriller mixed in with elements of the bio-pic as it explores the life of Franz Kafka as he is played by Jeremy Irons. Also starring Theresa Russell, Ian Holm, Jeroen Krabbe, Joel Grey, Armin Mueller-Stahl, and Alec Guinness. Kafka is a mesmerizing yet very odd film from Steven Soderbergh.
The film is a very weird story where an insurance office drone finds himself in the middle of a conflict between two underground organizations in 1919 Prague. All of which plays into a world that Franz Kafka is in as he struggles to maintain a low profile and live his life only to be sucked in towards a group of anarchists trying to stop a secret organization following the disappearance of a co-worker of Kafka’s. Lem Dobbs’ screenplay uses a lot of references to the works of Kafka that adds a unique narrative that blurs the line between reality and fiction. Much of it plays into ideas of man going against the ideas of conformity as Kafka struggles with not bringing attention to himself despite getting a promotion and endure many expectations of being part of society. Yet, Kafka’s encounters with people being killed and all sorts of strange occurrences lead to questions about what is going and why there is this effort to control things.
Steven Soderbergh’s direction is very stylish as it serves as a homage to German Expressionism in terms of its look and feel. Much of it would feature slanted camera angles as well as some unique compositions to play into the sense of style that would also recall something that is visually-enthralling its look and setting. Shot partially on location in Prague, the film has this feel of something that feels like a world in transition where a new world order is emerging but with elements of the old world where there are still rules. The film opens with a chilling scene of a man being chased by this crazed psychopath as it would set the tone of what is to come. Much of Soderbergh’s compositions include some unique close-ups and medium shots while his approach to wide shots for some of its interior settings are entrancing to watch.
While there’s a few elements in the film that don’t work such as the bumbling assistants who work for Kafka following his promotion. It’s Soderbergh trying to inject bits of humor in a film that is quite serious though some parts of that humor involving a friend of Kafka in Mr. Bizzlebek (Jeroen Krabbe) does work as he is a very effective character. Serving as his own editor, Soderbergh does play into the Expressionist style in a few of the dissolves along with some jump-cuts to play into the drama and suspense. The film’s climax involves a brief sequence where it adds to this element of surrealism where the film is shot in color to showcase the world that Kafka has to penetrate as he sees what they’re about. Overall, Soderbergh creates a very stylish yet evocative film about a man dealing with the constraints of society.
Cinematographer Walt Lloyd does amazing work with the film‘s black-and-white cinematography with its use of lightings and shadows for many of the interior and scenes at night while the brief use of color in its climax is very potent. Production designer Gavin Bocquet, with set decorator Joanne Woollard and art director Leslie Tomkins, does fantastic work with the set pieces from the file rooms as well as the bar that Kafka goes to as well as the strange world inside the mysterious castle. Costume designer Michael Jeffrey does excellent work with the period costumes to play into that look of German Expressionism with its suits and hats for the men as well as the dresses that the women wear
Sound editor Larry Blake and sound designer Mark A. Mangini do superb work with the sound from some of the sound effects that occur in the anarchists‘ secret base to the underground lair that is the secret castle. The film’s music by Cliff Martinez is great as it features bits of electronic music with its low-key synthesizers along with some offbeat pieces with the use of pianos and instruments that play into the sense of the times.
The casting by Susie Figgis is brilliant for the ensemble that is created that includes notable small roles from David Jensen as the psychotic killer, Brian Glover as a henchman in the castle, Maria Miles as a former fiancee of Kafka, Robert Flemyng as keeper of the files, Keith Allen and Simon McBurney as the idiotic assistants of Kafka, and Ian Holm in a terrific small role as the mysterious Dr. Murnau who is seen at the film’s climax. Joel Grey is wonderful as the office supervisor Mr. Burgel who often looms over Kafka to do his work while Alec Guinness is excellent as the insurance director who often asks Kafka about his social life and lack of determination to rise up the corporate ladder.
Armin Mueller-Stahl is superb as Inspector Grubach who investigates the mysterious disappearances as he often asks Kafka about the case and what he thinks happened. Jeroen Krabbe is fantastic as Mr. Bizzlebek as this bar patron who always has some very funny theories as he is likely the only real friend that Kafka has. Theresa Russell is amazing as Gabriela as a co-worker who was the lover of the man who was killed as she is a secret member of the anarchist group as she tries to get Kafka to take part because of his non-conforming persona. Finally, there’s Jeremy Irons in a remarkable performance as Franz Kafka where he plays it straight as someone who is very reserved while dealing with this secret conflict he didn’t want to take part in as it’s a role filled with humility as well as someone who is aware of what it means to be human.
Kafka is an excellent film from Steven Soderbergh that features a fantastic performance from Jeremy Irons. While it’s a film that refuses to define itself into any genre, it is quite compelling in its visual style as well as theme of conformity and individuality. In the end, Kafka is an extraordinarily odd yet rapturous film from Steven Soderbergh.
Steven Soderbergh Films: sex, lies, & videotape - King of the Hill - The Underneath - Gray's Anatomy - Schizopolis - Out of Sight - The Limey - Erin Brockovich - Traffic - Ocean's Eleven - Full Frontal - Solaris (2002 film) - Eros-The Equilibrium - Ocean's Twelve - Bubble - The Good German - Ocean's Thirteen - Che - The Girlfriend Experience - The Informant! - And Everything is Going Fine - Contagion - Haywire - Magic Mike - Side Effects - Behind the Candelabra - Logan Lucky - (Unsane) - (High Flying Bird)
The Auteurs #39: Steven Soderbergh: Pt. 1 - Pt. 2
© thevoid99 2014
Based on the novel by Joseph Kanon, The Good German is a World War II film where an American officer investigates a murder following the Allies’ victory over Germany as he deals with a former lover and another American soldier as it involves various conspiracies. Directed, shot, and edited by Steven Soderbergh and screenplay by Paul Attanasio, the film is an ode to the film noir mysteries of the 1940s as well as films that explores the early years of postwar-Germany. Starring George Clooney, Cate Blanchett, Beau Bridges, Tony Curran, Leland Orser, Jack Thompson, and Tobey Maguire. The Good German is a compelling yet very stylized film from Steven Soderbergh.
The film is a homage to the world of film noir where it is set on the Potsdam Conference where an American war correspondent finds himself investigating a murder that has ties to some secret documents involving V-2 rockets as he would question a former lover whose husband might know about the manufacturing of those rockets. All of which involves mystery and intrigue as it plays to a man trying to do what is right unaware that his former lover is hiding secrets of her own as well as the whereabouts of her husband who is presumed dead. Adding to the complication is a young soldier the woman is involved with as he has no clue about what is happening as he starts to ask too many questions. All of which plays to the schematics and such that is typical of film noir.
Screenwriter Paul Attanasio does maintain that air of mystery that is prevalent in the film but when it comes to some of key aspects of the suspense. It never really gels as it often second-guesses itself where it loses some momentum in the story. While the lead character of Captain Jacob Geismer (George Clooney) and his former lover in Lena Brandt (Cate Blanchett) are interesting as they have a history together. The character of Lena’s young lover Tully (Tobey Maguire) is never really fleshed out as he is just a corporal in love with Lena and wants to help her get out of Germany but has no clue over what is really going on. Adding to the sense of intrigue is the fact that Lena’s husband Emil (Christian Oliver) knows something that would involve a manufacturer of V-2 rockets as the documents that Emil is hiding is something the Americans and Soviets want as they believe it is the future of war. All of which would have Geismer realize that there is something going on and he has no one to trust as does Lena who is already in hot water as she is targeted by the American government as well.
Steven Soderbergh’s direction is truly stylish not just in the visuals but also in the way he creates these compositions that is an absolute homage to film noir. Especially in some unique camera angles, close-ups, and medium shots to play into the look of the film though it shot entirely on a soundstage where Soderbergh even uses visual effects to create postwar Berlin. Serving as cinematographer in his Peter Andrews alias, Soderbergh would shoot the film in black-and-white as he would create shadows and interior lighting schemes that played to the style. Even as he would add bits of modern language such as swearing and sex into the film as he would also serve as editor, in his Mary Ann Bernard alias, as he infuses the film with lots of editing styles from dissolves, transition wipes, and other unique cuts as well as stock footage. All of which add to the sense of intrigue though Soderbergh is unable to really amp up some of the film’s suspenseful moments because of the script. Even though he does maintain that sense of thrill in a key aspect of the film’s climax yet it sort of ends on a downer of sorts as it really plays to the idea of compromise. Overall, Soderbergh creates a worthwhile yet flawed film about an American officer trying to help a German woman in postwar-Germany.
Production designer Philip Messina, with set decorator Kristen Toscano Messina and art director Doug J. Meerdink, does excellent work with design of some of the interior buildings such as the military offices and some of the ruined buildings to play into the feel of postwar Germany. Costume designer Louise Frogley does fantastic work with the period costumes in the look of the dresses that Lena wears as well as the different military uniforms the Americans and Soviets wore. Visual effects supervisor Thomas J. Smith does nice work with some of the minimal visual effects which are essentially backdrops for some scene set in Berlin and in Potsdam. Sound editor Larry Blake does superb work with the film‘s sound in the way the club that many of the characters go to as well as some of the sounds of gunfire in some scenes. The film’s music by Thomas Newman is brilliant for its orchestral score that has a lot of string flourishes that plays into the film’s mystery and suspense.
The casting by Debra Zane is amazing as it features some notable small roles from Robin Weigert as a German hooker named Hannelore, Dave Power as a corrupt lieutenant, Tony Curran as the cautious club bartender Danny, Beau Bridges as the very ambiguous Colonel Muller, Leland Orser as a well-meaning yet nosy investigator in Captain Teitel, Ravil Isyanov as secretive Soviet official that Tully would do business with, Jack Thompson as a congressman who would watch over the Potsdam conference, and Christian Oliver in a terrific role as Lena’s husband Emil who carries important secrets that might save Germany and the world. Tobey Maguire is alright as Tully as this very corrupt soldier who is just trying to make money as well as get Lena out of Berlin where Maguire has moments where he’s tough but it’s a role that is badly written at times where Maguire never rises above the material.
Finally, there’s Cate Blanchett and George Clooney in superb performances in their respective roles as Lena Brandt and Captain Jake Geismer. Blanchett brings an air of radiance to her role as well as something dark as she is a woman carrying some big secrets while juggling her feelings for Geismer and he relationship with Tully. Clooney has this very calm yet determined persona as a man who wants to do things right as he comes to terms with his feelings for Lena and his duty. Blanchett and Clooney do have some chemistry together despite some of the flaws in the script as they do bring in a sense of old-school acting into their performances that is right for the film’s tone.
The Good German is a pretty good film from Steven Soderbergh that features stellar performances from George Clooney and Cate Blanchett. While it is a flawed film that tries to recreate an old language of film, it is still a worthy homage to film noir. Especially as Soderbergh would infuse his own ideas to make it feel modern but also play tribute to the past. In the end, The Good German is a superb film from Steven Soderbergh.
Steven Soderbergh Films: sex, lies, & videotape - Kafka - King of the Hill - The Underneath - Gray's Anatomy - Schizopolis - Out of Sight - The Limey - Erin Brockovich - Traffic - Ocean's Eleven (2001 film) - Full Frontal - Solaris (2002 film) - Eros-The Equilibrium - Ocean's Twelve - Bubble - Ocean's Thirteen - Che - The Girlfriend Experience - The Informant! - And Everything is Going Fine - Contagion - Haywire - Magic Mike - Side Effects - Behind the Candelabra - Logan Lucky - (Unsane) - (High Flying Bird)
The Auteurs #39: Steven Soderbergh: Pt. 1 - Pt. 2
© thevoid99 2014
Directed, shot, and edited by Steven Soderbergh and written by Coleman Hough, Bubble is the story of two people living near the Ohio River as they struggle with their daily life just to survive as their friendship is disrupted by the arrival of a new employee. The film is an experimental feature of sorts where Soderbergh aims for a minimalist approach in his storytelling as well as shooting with the newest digital technology of the time while working with non-professional actors. Starring Debbie Doeberenier, Dustin James Ashley, and Misty Dawn Wilkins. Bubble is a fascinating and chilling film from Steven Soderbergh.
The film explores the world of a small town in West Virginia where a middle-aged woman and a man in his 20s work together at a doll factory where the arrival of a new employee disrupts the friendship. It’s a film that doesn’t have much of a plot as screenwriter Coleman Hough just wants to explore this friendship between the 40-something Martha (Debbie Doeberenier) and the 20-something Kyle (Dustin James Ashley) where they work together as Martha would also drive Kyle for his second job shoveling at a steel mill. Upon the arrival of a new employee in Rose (Misty Dawn Wilkins) who is a 20-something single mother, Martha feels uneasy about this new person where relationships become complicated and such. While the first half is a portrait of the lives of these people in a small town. It would change in its second half to a more genre-based story as it would be played into some kind of mystery of sorts.
Steven Soderbergh’s direction is very simple in terms of what he wanted to do as he is aiming for something that feels real as all of it is shot on location in Parkersburg, West Virginia and Belpre, Ohio to create something that feels like a small town set in parts of America that isn’t often explored. Serving as cinematographer in his Peter Andrews pseudonym and editor in his Mary Ann Bernard pseudonym, Soderbergh does aim for some visual style in terms of its lighting where it has bits of sepia-drenched images as it’s shot entirely on high-definition digital cameras. A lot of the compositions are quite simple yet does have some amazing shots that Soderbergh would create to play into the life of a small town that would later become unhinged for a bit in its second half. In his editing, Soderbergh would keep things straightforward with a few stylish cuts and such as he aims for something that is more minimalist rather than be very embellished. Overall, Soderbergh creates a very intoxicating and eerie film about life in a small town.
Sound mixer Dennis Towns and sound designer Larry Blake do excellent work with the film‘s sound as it is presented in a very simple manner with Towns doing much of the location sound and Blake adding textures for its post-production work. The film’s music by Robert Pollard is superb as it’s a very simple score with just a folk-based guitar that plays between scenes to give it a small town feel.
The casting by Carmen Cuba is brilliant as it features some notable small roles from Daniel R. Christensen as the factory supervisor, Laurie Lee as Kyle’s mother, Madison Wilkins as Rose’s 2-year old daughter Jesse, Omar Cowan as Martha’s father, K. Smith as Rose’s former boyfriend, and Decker Moody as a detective who plays a key part in the film’s second half. Misty Dawn Wilkins is wonderful as the young new employee Rose who is a young single mother wanting to make money so she can leave town as she rubs Martha the wrong way. Dustin James Ashley is fantastic as Kyle as this shy, young man who is attracted to Rose as he is unaware of what is going on as well as the tension between Rose and Martha. Finally, there’s Debbie Doeberenier in a brilliant performance as Martha as this middle-aged woman who feels threatened by Rose’s presence as she wants to know if she’s just being paranoid or if her suspicions are true.
Bubble is a fantastic film from Steven Soderbergh. While it is a film that might be too offbeat for more mainstream audiences, the film is still Soderbergh at his finest as it is a very minimalist film that doesn’t play to conventions while finding some engaging moments in some of the mundane aspects of the film. In the end, Bubble is a superb film from Steven Soderbergh.
Steven Soderbergh Films: sex, lies, & videotape - Kafka - King of the Hill - The Underneath - Gray's Anatomy - Schizopolis - Out of Sight - The Limey - Erin Brockovich - Traffic - Ocean's Eleven (2001 film) - Full Frontal - Solaris (2002 film) - Eros-The Equilibrium - Ocean's Twelve - The Good German - Ocean's Thirteen - Che - The Girlfriend Experience - The Informant! - And Everything is Going Fine - Contagion - Haywire - Magic Mike - Side Effects - Behind the Candelabra - Logan Lucky - (Unsane) - (High Flying Bird)
The Auteurs #39: Steven Soderbergh: Pt. 1 - Pt. 2
© thevoid99 2014
Based on the memoir of A.E. Hotchner, King of the Hill is the story of a young boy who is forced to fend for himself during the Great Depression where he lives in a hotel. Written for the screen, edited, and directed by Steven Soderbergh, the film explores a young boy trying to deal with his own situation while his family is away due to circumstances beyond their control. Starring Jesse Bradford, Jeroen Krabbe, Lisa Eichhorn, Karen Allen, Spalding Gray, Elizabeth McGovern, Lauryn Hill, Cameron Boyd, and Adrien Brody. King of the Hill is a remarkably rich film from Steven Soderbergh.
Set in 1933 St. Louis during the Great Depression, the film explores the life of a 14-year old boy who is forced to fend for himself when his father finds a job as a traveling salesman while his tuberculosis-ridden mother is sent to a sanatorium and his little brother is sent to live with his uncle. In turn, Aaron Kurlander (Jesse Bradford) would do whatever it takes to survive as he deals with a nosy bellboy named Ben (Joseph Chrest), a bullying police officer named Burns (John McConnell), and all of the trials and tribulations in his surroundings as he lives in a hotel that is becoming a seedier place to live in. Still, Aaron is able to survive his way while attending school where he’s about to graduate from the eighth grade as he would also lie his way in order to get out of situations though of his lies would catch up with him. Even as he is trying to cover his poor background from his classmates through the lies he would create.
Steven Soderbergh’s screenplay definitely plays into the world of a boy coming of age during the Great Depression as he would scrape whatever he could find to survive as he also collects cigar brand stickers in the hopes that they gain value and he can sell them. At the same time, he tries to help his younger brother Sullivan (Cameron Boyd) get through things in life as well as tell him that some things can’t be taught such as marbles. The character of Aaron is a unique boy who is quite intelligent for his age despite being small yet he possesses a lot of determination and street-smart to get buy. Though there’s things he does that makes him flawed as he would steal food and lie at times, it’s only because he needs to survive as only a few such as his neighbor Lester (Adrien Brody) and his teacher Miss Mathey (Karen Allen) seem to understand. Especially as the latter can see through his lies and know why but would protect him so that he wouldn’t be ashamed.
Lester is among the many unique characters that Aaron would encounter for much of his life as other oddities include his neighbors like the eccentric Mr. Mungo (Spalding Gray) and the shy Ella McShane (Amber Benson). All of which would play into Aaron’s growth as a boy where the hotel he lives in is an important character in the film. There’s also his father (Jeroen Krabbe) who is just as unique but also flawed as a man who means well in what he wants to do but he’s created so many debts as it would play into a lot of mistrust by the some of the adults that Aaron encounters. The film’s third act would intensify the drama as Aaron not only sees the harsh realities of his situation but also in his environment as the people he knows are starting to disappear because of these circumstances. All of which would test Aaron in his struggle to survive as the forces around him are becoming more determined to get rid of him.
Soderbergh’s direction definitely has a unique visual style in the way he frames his actors in a scene or how would create a scene to play into the situation that Aaron faces. While some of it is quite light-hearted early on in the way Aaron lives his life with his family despite their troubling situation. Soderbergh knows how to capture the sense of joy and enthusiasm that kids go through such as this sequence where Aaron shows his mastery in playing marbles. Some of the compositions definitely have Soderbergh use expressionistic images such as a few slanted camera angles as well as a shot of Aaron in an elevator where its operator (Lauryn Hill) is in the foreground while Aaron is in the background. It is Soderbergh wanting to create something that is a part of Aaron’s world where it feels familiar only for these things to start disappearing in the third act.
Also serving as the film’s editor, Soderbergh would create some compositions in the close-ups and such to play into the world of 1933 St. Louis where it’s set in a very hot summer as he goes into great detail to display that sense of heat. Even in some of the film’s more posh settings, the heat definitely adds to the tone of the film where it comes into play during a graduation party where many of Aaron’s lies starts to catch up with him. Through his own unique approach in the editing with its jump-cuts and some stylish montages, Soderbergh plays into the weight that Aaron had to carry throughout the film as he tries to come to terms with the reality and everything he had to face. Overall, Soderbergh crafts a very engaging and enthralling film about a boy coming of age during the Great Depression.
Cinematographer Elliot Davis does brilliant work with the film‘s rich cinematography with its naturalistic yet colorful look of the locations in St. Louis as well in some of the film‘s interiors to play up its heat as well as the growing sense of despair that would loom on Aaron. Production designer Gary Frutkoff, with set decorator Claire Jenora Brown and art director Bill Rea, does excellent work with the look of the hotel room that Aaron and his family live in as well as some of the locations to play into the sense of decay due to the Depression. Costume designer Susan Lyall does terrific work with the costumes as it plays to the look of the film as well as some of its raggedness to play into that troubling period during the Depression.
Sound editor Larry Blake does superb work with the film‘s sound from the way some of the things sound outside of Aaron‘s hotel room as well as some of the things that goes on during the locations. The film’s music by Cliff Martinez is fantastic as it is this very low-key yet somber electronic-based score that is quite unusual for a period film yet it is also effective as it features additional contributions from Michael Glenn Williams for the graduation scene while music supervisor Jeffrey Kimball brings in a soundtrack full of songs from that era.
The casting by Deborah Aquila is amazing as it features some notable small roles from Lauryn Hill as the elevator operator, Chris Samples as Aaron’s rich classmate Billy Thompson, Peggy Freisen as Billy’s mother, Kristin Griffith as Ella’s mother, Katherine Heigl as Aaron’s crush of sorts in Christina, John Durbin as a painter who was one of Aaron’s neighbors, Ron Vawter as the sympathetic hotel manager, and Elizabeth McGovern as a prostitute named Lydia that Mr. Mungo invited to stay with him. Joseph Chrest is terrific as the slimy bellboy Ben while John McConnell is superb as the bullish patrolman Burns. Amber Benson is wonderful as the shy and socially-awkward neighbor Ella who has a crush of sorts for Aaron while Cameron Boyd is pretty good as Aaron’s younger brother Sullivan. Adrien Brody is excellent as the street-smart neighbor Lester who would help Aaron in some of his situations as well as be the guy that would watch him graduate.
Karen Allen is great as Aaron’s teacher Miss Mathey as a sympathetic teacher who learns about Aaron’s situation as she would hide the truth from everyone so he wouldn’t deal with his shame. Spalding Grey is fantastic as the eccentric Mr. Mungo as a neighbor who is fascinated by Aaron’s cigar brand collections while willing to help him in his plight. Lisa Eichhorn is brilliant as Aaron’s ailing mother who is dealing with her illness as she’s sent to a sanatorium while Jeroen Krabbe is incredible as Aaron’s father who is trying to get a job as he is unaware into the dangerous situations he would put his son in. Finally, there’s Jesse Bradford in a remarkable performance as Aaron Kurlander as Bradford brings a sense of wit and charm to the role as someone who is intelligent in all levels while he tries to come to terms with the severity of his situation once he is forced to fend for himself.
The dual-disc Region A Blu-Ray/Region 1 2-disc DVD from the Criterion Collection presents the film in a 2:35:1 theatrical aspect ratio for widescreen with 5.1 Dolby Digital Surround Sound as it is remastered under the supervision of director Steven Soderbergh and his longtime sound editor/mixer Larry Blake. The extras on the Blu-Ray and on the first disc of the DVD features a 19-minute, twenty-five second interview with Steven Soderbergh. Soderbergh talks about making the film and his relationship with Gramercy at that time in his career where he also discussed some of things that he wanted to do at the time when he made the film. While he admits to being relieved for the fact that it was well-received, Soderbergh admits that if he had made the film years later. He would’ve gone for a much more grittier approach visually while he also talked about the film’s poor reception at the 1993 Cannes Film Festival and some of the mistakes he felt he made in the editing as he later believed helped him in becoming a better filmmaker.
The 21-minute interview with author A.E. Hotchner has him reflecting on the book he wrote which was inspired by his own experiences during the Great Depression. Hotchner talks about some of the things that really happened that got changed for the film as well as some tidbits about his own family. Hotchner also reveals about the experiences that went on during the Depression and how chaotic it was where families would have to constantly move which Hotchner believed really effected his younger brother. Hotchner does talk a little bit about the film where the one scene he was really involved in was in how Aaron would shoot marbles as he would teach Jesse Bradford for an hour in how to shoot marbles more realistically which would prove to be effective. The 10-minute, thirty-nine second video essay entitled Against Tyranny explores Soderbergh’s defiance towards the idea of conventional narrative and how he would refine that with not just the hallucination sequence in the film but also in how it would later shape the work he would do later on. It’s an interesting video essay that explores Soderbergh’s own methods as an editor but also what he wanted to do as a filmmaker.
Six deleted scene ranging a total of nine-minutes which features two alternate scenes of Aaron and Sullivan walking home from school as well as a scene where Billy Thompson asks Aaron about the canaries. One major deleted scene involves Lester giving Aaron a shaving razor where Aaron would learn to shave while his parents return from the dentist with a big surprise in a brief moment of happiness. Two other deleted scenes involve Aaron trying to find Lester in a seedy nightclub where he would later see Lydia with a gentleman entering the club on his way out. The first disc of the DVD also includes the film’s original trailer which was presented as this inspiring family film which isn’t really the case at all.
One major extra on the supplements section of the Blu-Ray and in the second disc of the DVD is Soderbergh’s 1995 film The Underneath that is presented in a remastered form. The film also includes the film’s theatrical trailer and a 22-minute and 33-second interview with the director about the film. Soderbergh talks about the making of the film and why he considers the film his weakest as he said the reason he thinks the film is a failure is because of him. Largely because Soderbergh’s personal life was in disarray as well as where he was at creatively. While Soderbergh reveals there’s some scenes in the film that he liked as well as Elliot Davis’ cinematography and the film’s score. There’s things about it that he felt were quite bad and he was relieved that Universal didn’t know how troubled he was because of Waterworld. Soderbegh does feel that if it wasn’t for this film, he would probably be stuck somewhere as it is an interesting interview from the director.
The DVD/Blu-ray set also includes a booklet that features a lot of text relating to the film. The first is an essay entitled Alone Again by film critic Peter Tonguette that explores the film’s themes and how it would relate to Soderbergh’s other films in terms of the protagonists that had been endured the same struggles that Aaron did in this film. Tonguette also talks about the film’s coming-of-age approach and how Aaron would stand out from many of the characters who were in his situation as Tonguette suggests that some of Aaron’s struggles are similar to the situations in Robert Bresson’s 1967 film Mouchette. The second piece of text is a 1993 interview with Steven Soderbergh for the French film magazine Positif where Soderbergh talks about the film and much of its themes. Especially in his approach to telling the story and what he wanted to do as it’s a very engaging interview with the filmmaker. The third and final text in the booklet is an excerpt of A.E. Hotchner’s memoir that he published back in 1972. The excerpt plays into what Hotchner was going through in that time as well as the danger of being evicted as it plays into the dire situations that he would deal with for much of his life in that story.
King of the Hill is a spectacular film from Steven Soderbergh. Featuring a tremendous performance from Jesse Bradford as well as a great supporting cast, the film is definitely one of Soderbergh’s finest films. Especially as it’s an engaging coming-of-age story set during the Great Depression that isn’t overly sentimental yet has this element that allows the audience to be captivated by the story of a young boy in that period. In the end, King of the Hill is a sensational film from Steven Soderbergh.
Steven Soderbergh Films: sex, lies, & videotape - Kafka - The Underneath - Gray's Anatomy - Schizopolis - Out of Sight - The Limey - Erin Brockovich - Traffic - Ocean's Eleven - Full Frontal - Solaris - Eros-The Equilibrium - Ocean's Twelve - Bubble - The Good German - Ocean's Thirteen - Che - The Girlfriend Experience - The Informant! - And Everything is Going Fine - Contagion - Haywire - Magic Mike - Side Effects - Behind the Candelabra - Logan Lucky - (Unsane) - (High Flying Bird)
The Auteurs #39: Steven Soderbergh: Pt. 1 - Pt. 2
© thevoid99 2014
Directed by Steven Soderbergh and written by Brian Koppelman and David Levien, Ocean’s Thirteen is the third and final film of the Ocean’s trilogy as Danny Ocean and his team decide to ruin a new casino and its owner in an act of revenge when one of Ocean’s friends gets conned out of his dream and nearly dies of a heart attack. The film is a heist film but also a comedy in which Danny Ocean and his gang return to Las Vegas and make sure a businessman’s premiere night is ruined as they seek the help from an unlikely person. Starring George Clooney, Brad Pitt, Matt Damon, Don Cheadle, Bernie Mac, Eddie Jemison, Casey Affleck, Scott Caan, Shaobo Qin, Carl Reiner, Elliot Gould, Andy Garcia, Eddie Izzard, Vincent Cassell, David Paymer, Ellen Barkin, and Al Pacino as Willy Bank. Ocean’s Thirteen is an exhilarating and fun film from Steven Soderbergh.
The film is a revenge tale of sorts when Willy Bank cheats Reuben Tishkoff (Elliot Gould) out of his partnership of a casino that leads to Reuben suffering a near-fatal heart attack forcing Danny Ocean (George Clooney) and the rest of the gang to seek vengeance on Bank and ruin his new casino. While it is a simple premise of a revenge/heist film, it’s also a film about brotherhood and loyalty where Ocean and the gang help out one of their own while getting help from an ally of theirs from the past as well as a foe in Terry Benedict (Andy Garcia) who also despises Bank and wants the gang to steal some prestigious diamonds that Bank has won. Along the way, the gang that is expanded to thirteen do whatever it takes to ruin the opening night of Bank’s casino and make sure that Reuben gets the chance to be happy again.
The film’s screenplay by Brian Koppelman and David Levien does have a very unique structure where the first half is about Reuben’s heart attack and the gang wanting to get back at Bank for what he did as well as plan the heist and to make sure that Bank loses more than half a billion dollars on opening night. Yet, the stakes are much bigger as the casino known as the Bank gives the gang even bigger challenges as they seek the help of friend Roman Nagel (Eddie Izzard) who learns that his old roommate in Greco Montgomery (Julian Sands) has created an artificial intelligence system that can scope out anyone to see if anything they did in the casino is illegal as the only way to disable it temporarily would be through a natural disaster.
The film’s second half is set on opening night where it’s about the scheme where Linus Caldwell (Matt Damon), who poses as an assistant for Yen (Shaobo Quin) who plays a real estate billionaire, would seduce Bank’s assistant Abigail Sponder (Ellen Barkin). Yet, a lot more chaos happens as Virgil and Turk Malloy (Casey Affleck and Scott Caan, respectively) take part in a protest for Mexican workers that would be successful in the scheme while Benedict’s involvement isn’t just funding the gang when they needed money to create a natural disaster. Benedict has a bigger grudge towards Bank who had always prevented him from winning the prestigious Five Diamonds Award as Saul Bloom (Carl Reiner) would pose as a critic of that award while the real critic (David Paymer) would endure the most humiliating moments of his life.
Steven Soderbergh’s direction is very stylish as well as lavish for the way he presents the world of casinos including the one that Bank wants to create as it displays his very egotistical personality. Much of it involves some massive wide shots and some second unit work as the look of the casino from the exterior displays how crazy Bank is as a person in making sure that his casino is the best. Soderbergh adds in a lot of humor not just in the schemes that Danny Ocean and the gang creates but also in how the way the react to certain things and such as Danny becomes sentimental when watching Oprah Winfrey. There’s also a sense of nostalgia in Danny and Rusty (Brad Pitt) who look at what Las Vegas has become as they think about how much Reuben was there for them as they think of him as a father and friend.
In his Peter Andrews alias, Soderbergh’s photography has a lushness in many of its interiors for the scenes at Bank’s casino with its red and yellow while Soderbergh infuses it with a lot of stylish shots to play into that look. Even as the exteriors in Las Vegas and Los Angeles maintains that sense of beauty that is the American West Coat. Still, Soderbergh makes sure that the film is about more than just payback and ruining one man’s life as it’s a film about friendship and honor. Overall, Soderbergh crafts a very enjoyable film about a gang rallying for an ailing friend and go after the man who hurt their friend.
Editor Stephen Mirrone does brilliant work with the editing with its use of montages and stylish cuts to play into the sense of craziness and planning that goes on as well as the humor in the film. Production designer Philip Messina, with set decorator Kristen Toscano Messina and supervising art director Doug J. Meerdink, does fantastic work with the look of the casino from its posh interior setting to the home where Reuben lives. Costume designer Louise Frogley does amazing work with the costumes from the dresses that Sponder wears as well as the clothes that the men wear.
Visual effects supervisor Thomas J. Smith does terrific work with some of the film‘s minimal visual effects such as the cologne that Linus uses to woo Sponder. Sound editor Larry Blake does superb work with the sound from the sound effects in the casino to the way some of the machines sound. The film’s music by David Holmes is excellent for its mixture of jazz and upbeat electronic music while he also supervises the soundtrack to include some jazz classics including songs by Frank Sinatra.
The casting by Debra Zane is great as it features appearances from producer Jerry Weintraub as a friend of the gang, Oprah Winfrey as herself, Bob Einstein as a FBI agent, Noureen DeWulf as a casino expo girl, Olga Sosnovska as the casino manager Rusty bribes, Julian Sands as the artificial intelligence game designer Greco Montgomery, and David Paymer as the unfortunate Five Diamonds Award critic who endures the worst conditions in his stay at Bank’s casino. Vincent Cassel is terrific in reprising his role as Francois Toulour from the second film as he seeks revenge on the gang while Ellen Barkin is wonderful as the very sexy and cunning Abigail Sponder who aids Bank in ensuring that things go well only to become seduced by Linus in his character. Al Pacino is excellent as Willy Bank as this very slimy casino owner who cheats Reuben out of his dream and dismisses Danny’s plea as he is a man full of ego and vanity as it’s a role that Pacino is perfect in.
Eddie Izzard is fantastic as the tech genius Roman Nagle who joins the gang as he also has a grudge towards Greco as he wants to get a nice share and help the gang. Andy Garcia is brilliant as longtime foe Terry Benedict who helps the gang in humiliating Bank while having a few tricks in his sleeve as he wants something in return for helping them. Eddie Jemison, Shaobo Qin, Carl Reiner, Casey Affleck, and Scott Caan are amazing in their respective roles as Livingston Dell, Yen, Saul, Virgil, and Turk as they all contribute some humor to the film while Bernie Mac is superb in his role as Frank Catton as it’s one of his final performances.
Elliot Gould is incredible as Reuben Tishkoff as a man who just wants to get his chance to run a casino as he nearly dies while seeing what his friends are doing for him. Matt Damon and Brad Pitt are hilarious in their respective roles as Linus Caldwell and Rusty Ryan where they both put on disguises and do some funny things. Don Cheadle is also hilarious as Basher who would pretend to be a stuntman to distract Bank while George Clooney is marvelous as Danny Ocean who leads the team into targeting Bank and make his night a living hell.
Ocean’s Thirteen is a phenomenal film from Steven Soderbergh. Armed with a great cast and an engaging premise, it’s a film that definitely serves as a fitting finale to the trilogy. Especially as it’s a film that just promises fun and excitement with characters audiences want to root for. In the end, Ocean’s Thirteen is a dazzling film from Steven Soderbergh.
Steven Soderbergh Films: sex, lies, & videotape - Kafka - King of the Hill - The Underneath - Gray's Anatomy - Schizopolis - Out of Sight - The Limey - Erin Brockovich - Traffic - Ocean's Eleven - Full Frontal - Solaris (2002 film) - Eros: The Equilibrium - Ocean's Twelve - Bubble - The Good German - Che - The Girlfriend Experience - The Informant! - And Everything is Going Fine - Contagion - Haywire - Magic Mike - Side Effects - Behind the Candelabra - Logan Lucky - (Unsane) - (High Flying Bird)
The Auteurs #39: Steven Soderbergh: Pt. 1 - Pt. 2
Related: Ocean's 8
© thevoid99 2014
