Ocean’s Eleven | Review

Soderbergh’s dream team makes for a fun and cheeky flick.

Here is yet, another film, pertaining to the subject of breaking into, unlawful entry and my personal favorite-larceny. Ocean’s Eleven is the fourth installment of a recent popularity in heist films that have hit the screen within the past couple of months (a satisfying pair of films in Sexy Beast and Mamet’s Heist and the Frank Oz hit and miss The Score). Director Steven Soderbergh brings to us his version of the ultimate heist flick, (and from what I’ve heard, it is a lot better than the original-paycheck-film for rat-packers Martin, Sinatra Davis Jr. and Co.) and as an added pleasure, this film is supported by some of the biggest names in Hollywood. It must have been quite the task for the film’s casting director-who probably had a handful with actor’s agents fighting over screen time. There is nothing new to this film plot that we haven’t seen before- containing the same flow of elements as in all heist films- the blue prints, the elaborate scheming, the heavy explosives and the final operation with the anticipated aftermath. This film features all too common “recruitment process” a sort of throwback to old Mission Impossible episodes. The selection process of “Ocean’ s” eleven members is probably the sequence which brings the most pleasure to the viewer. There is this stylized-Miami Vice feel to the film- with the nice suits, neon lit casino backdrops with some great aerial shots of Vegas basically this is a Mecca for attention grabbers and seekers. Soderbergh authenticates this heist film with the recent devices such as screen swipes and split screens a la 1970’s television cop shows and Guy Ritchie-esque style. In addition, he also dips back into his own repertoire of films with the über-cool lighting with the Traffic-like outdoor shots during the day (a sort of grainy-mustard-like-feel) and the distinctive composition of shots filmed in heavy shadowing and lighting with colored-lenses as found in Out of Sight. Added to the style of the picture-is this low tempo-background score by David Holmes which adds a fine touch to the mix.

The film’s narrative sticks mainly to the operation, we seem to know more about the plan than the characters themselves. The film seems to falter a little during the midway point, but quickly re-adjusts itself with a not-too-completely-surprised finale. Don’t get me wrong there are a couple of surprises along the way, but they aren’t contingent enough to make the viewer marvel in wonder with any of those “oh-my-god-how-did-they-do-that” flashes. It is the love triangle sub-plot that doesn’t do much for the dynamics of the picture; it just slows it down from all the fast-forward sequences and distracts the viewer away from the juicier parts of the film. There is very little concern to the ultimate fate of Julia Robert’s character-and there is even less concern for the other characters- we don’t care enough about them to rejoice with them as they stand side by side watching the waterworks of Vegas or we don’t share in the film’s finale- an un-authentically endorsed felling of rekindled destiny by the director. This film however, is the best example of a what could be called a director’s wet dream, with an impressive talent A-list of actors starting with the former Soderbergh-film alumni with Don Cheadle (Boogie Nights) the British explosives expert, George Clooney (Three Kings)-the brains behind the operation and Julia Roberts(Pretty Woman) the girlfriend trying to bait a better husband and continues with pin-up boys Brad Pitt (Spy Game) the man with the connections & Matt Damon(Rounders) the prodigy in theft. There is even room for names like Affleck and Caan…no not Ben and James, but rather brother Casey (American Pie 2)and son Scott (Novocaine)- who are minimal in their role as a couple of idiotic brothers, but their shtick could probably result in a spin-off movie in itself and not to mention the cool presence of a certain Andy Garcia (The Godfather Part III)as the casino owner. But out of the whole troupe, it is the senior citizens of the picture Elliott Gould (American History X), as the money-behind-the-operations kingpin and Carl Reiner (Slums of Beverly Hills), the veteran con artist who make the most out of their presence. I found myself appreciating the all-star team of characters in action especially in the bang-out ending, but otherwise during the film’s duller moments a little character study would have disguised the other poorly underwritten characters.

Ocean’s Eleven is nothing to rave about and is nowhere near level of achievement found in his other films such as the-Traffic, Out of Sight or Kafka-but that does not surprise me because this film seems like the-big-money-maker-project before the more artistic string of future pictures you can expect to see from this maverick filmmaker, basically, Ocean’s Eleven is the popcorn film that will help bring in the money for future projects and not an oeuvre to be expected. The film is pleasurable with the ensemble cast itself, the plot is basic and simple and even though it asks that you believe in the possibility of an impossible robbery (no one can shut down Las Vegas) it won’t leave you with that bitter taste- that feeling that you lost your money’s worth. Even with the mega star power, it will probably have a tough time measuring up in box office returns with the string of films for mass consumption and Oscar consideration in the weeks to come.

Rating 3 stars