Rather than a favorites list, these are the films I believe are essential to a sustainable dialogue about film, and…
Are you in or out?
Less than 24 hours into his parole, charismatic thief Danny Ocean is already rolling out his next plan: In one night, Danny's hand-picked crew of specialists will attempt to steal more than $150 million from three Las Vegas casinos. But to score the cash, Danny risks his chances of reconciling with ex-wife, Tess.
Sometimes after rewatching a film I wasn't planning to watch, I come to Letterboxd to log it only to encounter a rating I can't make sense of. When I joined I just rated films I've seen from memory.
My memory sucks as I really don't know why I rated this three stars.
This was on the telly tonight and I just happened to pass by, got sucked in by the company it was keeping and the buckets of charm it was oozing. The entertainment it provides is effortless and smooth, strengthened by the natural way the impressive ensemble cast bounce off of each other.
Just a fantastic bit of escapism.
"I owe you from the thing with the guy in the place, and I'll never forget it."
Ocean's Eleven commits three of the cardinal sins of Hollywood filmmaking:
1. Thou shalt not profit off the success of a previous film.
2. Thou shalt not deliver comedy primarily through talented actors reading a humorous script.
3. Thou shalt not hold thine audience in suspense by means of misdirection or withholding information.
Yet somehow, by the glorious magic of Steven Soderbergh's tight pacing, skillful cinematography and classy soundtrack, as well as his wonderful collaboration with writer Ted Griffin, it succeeds in robbing me of my heart.
This isn't a movie, it's a magic trick.
Disposable entertainment that helps ease the pain of living this cruel life that we are forced to live.
Good heist films are rare, but when they are made they tend to become instant hits, because everybody loves them. There is absolutely no shame in admitting you do by the way. The art of the steal, the baddy as the film’s protagonist, glorification of the life of a thief, these are thrilling aspects of the sub-genre that grand them their gratification. ‘Ocean’s Eleven’, which I had never seen before even though being a huge Brad Pitt fan, is no exception to this rule of thumb and with a talented director as Soderbergh behind the steer wheel, nothing stops this all-stars cast from shining in the attractive roles they have been offered to play. And why wouldn’t they? They get…
"I'm gonna drop ya like third period French."
Clooney oozes charisma, and Brad Pitt is still pretty much the best contemporary actor around, and the fact this film ever landed with a mainstream audience is quite surprising in itself despite seemingly-accessible subject matter, and I think I've found a new cinematic love in Steven Soderbergh, who is pretty much the most exciting director.
A mainstream movie with the heart of an experimental indie (at this point why would I expect anything else from Steven Soderbergh?). I love the film's focus on the people listening in a conversation, rather than the people talking. And it features an impeccable "getting the team together" sequence - one that is so good you don't even care about how long it is.
Stellar cast with amazing chemistry. Clever writing. Spectacular cinematography. I've never seen the original, nor have I seen any of the sequels, but I have so much fun with this film that I don't know if any of those could ever live up to it.
I have only one and a half problems with this movie: I don't buy for a second that Matt Damon's character is Brad Pitt's character's son. Not for one second. There is a seven year age difference between Pitt and Damon. Not buying it. Now, if there's anyone in the world capable of getting chicks at age 7, it's Brad Pitt, sure. I won't argue that. I can't argue that. However, I just don't think…
Foregrounding Danny Ocean’s wedding ring (and his other hand fidgeting with it) while he talks with Tess and Benedict. Coincidentally, I had just read some tweeted advice from comic book artist Steve Lieber about how to make four panels of dinner table conversation interesting (paraphrasing here): “Use the pictures to tell a different story from the dialogue.” Nice.
Another example of foregrounding the important element in a shot: During the infiltration of the casino vault, there’s a shot of the Mormon brothers wheeling the cart that has Amazing Yen inside. The shot is below eye level and at least a somewhat wide lens (not my area of expertise, sorry), so that the path of movement makes the cart loom huge…
Slick and shallow, but so damned entertaining that I love watching it over and over again, even if I know it all by heart. The dialogue is just so witty and clever and hilarious, even if the whole thing just reeks of smarminess and pretence. The plot doesn't make a whole lot of sense when you think about it, and the cast are basically just playing themselves, but none of that really bothers me while I'm watching it. Yes, it's style over substance, but the style is so superbly done that it doesn't really matter. Besides, it's not a stupid film, just not an overtly deep one. Just a very fun caper flick.
hell of a goddam clever mothercrackers
Breezy, fun. The performances are almost all very strong; Garcia and Roberts suck the fun out of their scenes entirely, but Clooney, Pitt, Gould, Damon, Cheadle, they're delightful. I can see as a better viewer why people are irritated by how "over-directed" 13 was, but I found that a little more kinetic and exciting.
Best remake I have ever seen. Great cast, great director, great story and overall brilliant film.
i feel like in actual reality, george clooney would much rather bang brad pitt than julia roberts, but really who wouldn't.
The 2015 edition of the They Shoot Pictures, Don't They? 21st Century's Most Acclaimed Films list.
Incomplete data forced the…
There are some voracious film watchers on Letterboxd with diverse tastes so I thought it would be interesting to see…