There was a time where I thought, naively, that I would be able to finish this month of heist films without watching Steven Soderbergh's legendary Ocean's Trilogy.
I was wrong.
So, instead of writing three separate reviews, I decided to just lump all three together, given that the strengths, and weaknesses, among the three films largely remains the same.
I. What Are They?
The Ocean's Trilogy is now iconic in the heist genre. What do you need to know? Danny Ocean (George Clooney), and his eccentric crew of n'er-do-wells are faced with a series of impossible heists. Fun, snappy dialogue, actors having fun, and killer soundtracks ensue.II. Stylish
Steven Soderbergh is a master filmmaker. His films are filled with stylistic verve and painterly beauty. He uses light and shadow and color in fascinating, evocative ways. He lends his films a sense of dynamism and action that very few filmmakers can rival.
With Ocean's 12, Soderbergh seems to have let his style run away with him. It feels like a French film, and boasts playful, beautiful technical elements. Say what you will about the labyrinthine plot and plentiful side stories (and I will, later), Ocean's 12 is probably the prettiest of the trilogy.
Soderbergh proved that auteurs could do blockbusters, and that blockbusters could be visually stimulating and technically proficient, even as they limited their aspirations to popcorn-chomping drollery.
With Ocean's 12, Soderbergh seems to have let his style run away with him. It feels like a French film, and boasts playful, beautiful technical elements. Say what you will about the labyrinthine plot and plentiful side stories (and I will, later), Ocean's 12 is probably the prettiest of the trilogy.
Soderbergh proved that auteurs could do blockbusters, and that blockbusters could be visually stimulating and technically proficient, even as they limited their aspirations to popcorn-chomping drollery.
III. CHEMISTRY
These movies feature a gang of actors clearly having the times of their lives. Clooney, Damon, Pitt, and the rest are having so much fun, they might have easily changed the name of these films to Fun: The Movie(s). Clooney and Pitt, especially, are as close to a perfect pair as Hollywood has seen since Newman and Redford (fight me).
And, outside of the core crew, Soderbergh assembles a who's who of Hollywood A-listers to come in and do cameo work. We get Andy Garcia, Al Pacino, Bruce Willis, Eddie Izzard, and Ellen Barkin are only a few among the many famous faces that traipse across the screen. These films were fun, and there was no shortage of people lining up to be in them.
I could watch these dudes do anything (and you kind of do, by trilogy's end) and still have a good time.
One of these films greatest weaknesses, and a thing we should not brush aside without notice, is their treatment of women. Namely, that there are very few involved at all, and those that are are relegated to comical caricature, or reduced to cardboard standee.
In the first film, Julia Roberts is absolutely wasted as Tess. In the third film, Ellen Barkin gets reduced to an over-long sex joke.
There are no two ways about it: these films don't treat women well. It's no wonder they did an all female reboot. It sucks that that reboot was sort of ho-hum, but I understand why they wanted to do it.
These are films very much of their time: women didn't get to be criminals, they didn't get to be action stars, and they very rarely were allowed to be complex characters. It is strange to think how far we've come since the first of these movies were released. And if you still think women can't do what the boys do, you haven't watched Widows (2018), and you should watch that movie.
These films are complicated. Overly so. Like... come on guys. I guess that is part of their charm, but there is something to be said about a simple story being told simply. Soderbergh and company never met a side plot, a twist (or a turn), a betrayal, or simply an over-long joke that they didn't like. I understand why people criticize these films for their byzantine plots and schemes, but, at a certain point, you should know what you are in for. And, by the third damn film, what did you expect?
And, outside of the core crew, Soderbergh assembles a who's who of Hollywood A-listers to come in and do cameo work. We get Andy Garcia, Al Pacino, Bruce Willis, Eddie Izzard, and Ellen Barkin are only a few among the many famous faces that traipse across the screen. These films were fun, and there was no shortage of people lining up to be in them.
I could watch these dudes do anything (and you kind of do, by trilogy's end) and still have a good time.
IV. The Music
You know the Ocean's music whenever you hear it. It is iconic. It sets the pace and gets the blood pumping. The soundtracks to these films are a towering achievement. David Holmes' scores are dynamic, playful, and fit these films like a glove.V. Let's Talk About Women
In the first film, Julia Roberts is absolutely wasted as Tess. In the third film, Ellen Barkin gets reduced to an over-long sex joke.
There are no two ways about it: these films don't treat women well. It's no wonder they did an all female reboot. It sucks that that reboot was sort of ho-hum, but I understand why they wanted to do it.
These are films very much of their time: women didn't get to be criminals, they didn't get to be action stars, and they very rarely were allowed to be complex characters. It is strange to think how far we've come since the first of these movies were released. And if you still think women can't do what the boys do, you haven't watched Widows (2018), and you should watch that movie.
V. Why Have One Plot When You Can Have Seventeen?
VIII. Should You See It?
Miscellany
- Matt Damon's role, Linus, was intended for Mark Wahlberg, but he turned it down. Bruce Willis was originally cast as Danny Ocean, but had to drop out.- The entire cast worked for below their normal salaries to make the budget work.
- Soderbergh insisted that 11 and 12 were both made for the same budget.
- Ocean's 13 was Soderbergh's last film (to date) shot on film.
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