It goes back to an ugly, bewildering truth about making movies, one that Joe Swanberg discussed at his SXSW speech a few years ago: if you have no money, everyone wants to say no to your idea, whereas when you have money already, everyone wants to give you much more. Movies. An early shot of a group of aristocrats stuffing their faces in the moments before a bomb decimates them is nearly identical to the tilted, furious close-ups in Citizen Kane, Chimes at Midnight, and Welles’ own audacious adaptation of The Trial. There are some standout moments, and Soderbergh, curiously, shoots the movie in as straightforward and linear a fashion as he’s ever shot anything. What follows is a uniquely brutal vision of female life controlled, contained, and bled of all joy by a system that, even when run by women, tends to protect and favor any given man. Release Calendar DVD & Blu-ray Releases Top Rated Movies Most Popular Movies Browse Movies by Genre Top Box Office Showtimes & Tickets Showtimes & Tickets In Theaters Coming Soon Coming Soon Movie News India Movie … You’ve Broken Selena’s Sacred Heart for the Last Time in New ‘De Una Vez’ Video. A two-part HBO documentary shows the toll of an overbearing father and life as a golf prodigy. You\'ll receive the next newsletter in your inbox. In truth, his debut is the very model of the Stunning First Feature, a groundbreaking planting of the flag that instantly cements a filmmaker’s name. Soderbergh is in pure gritty crime mode with this almost-too-hip-for-any-room thriller about an English father (Terence Stamp) coming to America to track down the people who murdered his daughter. A narrative-free screw-around that’s loosely about Hollywood but is really about Soderbergh pulling the rug out from under himself to make sure he doesn’t become One Of Them, Full Frontal is oftentimes unwatchable; Soderbergh is too busy doodling around to remember to entertain anyone other than himself. Even the most problematic of them offer learnable lessons about the business of making movies, putting him in a rarified class of American filmmakers: ones who make movies that are consistently both imminently entertaining and unexpectedly audacious. Joshua Bassett’s new single “Lie Lie Lie” has arrived. Maybe that’s why Streep wanted to work with Soderbergh in the first place? For as much as Soderbergh has been credited with helping to elevate George Clooney’s film career — creating the right platform for his suave, slightly smirking silver-screen persona — not enough has been said about the rapport he’s had with Clooney’s Ocean’s costar. We took all of the movies directed by Steven Soderbergh and looked at their Rotten Tomato Critic, Rotten Tomato User, Metacritic, Metacritic User, IMDB, and Letterboxd scores, ranking them against one another to see which movies came out on top. Oceans 11 should be number one. As for newcomer Julia Roberts, she shows a lot of promise — mark our words, she’s got “star” written all over her. Soderbergh is amused by this quirky little subculture, but there’s also a lot of compassion for Mike, a hunky Peter Pan on the cusp of growing up. Updates on all of the celebrities, politicians, and more who have been vaccinated for the coronavirus. Nevertheless, this twisty thriller certainly suggested a director who needed to recharge his batteries. Jude Law’s truther journalist is a drip, and Matt Damon’s uber-decent family man doesn’t have enough dimension to be the emotional center of this globe-trotting ensemble thriller. At the time, this Depression-era coming-of-age tale, based on A. E. Hotchner’s memoir, was greeted with acclaim — but, also, a huge sigh of relief. I’m also impressed of his range as a director. The story behind Sex, Lies’ creation is now legend: A then-twentysomething unknown, Soderbergh wrote the script in eight days, inspired by the ugly end of a relationship. The violence on display is some of the most grisly and unsettling that Soderbergh has depicted thus far and his criticisms are no less unflinching, presenting an entirely convincing case study of the ceaseless, incurable trauma that often comes from being “loved” by a man. There are flourishes of abstract symbolic imagery that suggest an ode to Godard but there’s something far more rueful about the overall tone of the movie. Rarely has Soderbergh brought out as much character in a city as he does with Detroit, where Clooney’s thief must enter a deal with a local would-be kingpin (Don Cheadle) to rob the home of a corrupt banker (Albert Brooks). The closer we get to #1, the better Soderbergh’s movies balance entertainment with tone, character, and story. The script by Greg Nolfi sends George Clooney’s Danny Ocean and his merry gang of grifters over to Europe to recoup the money they stole from Terry Benedict (Andy Garcia), while fending off maturity and expert jewel thief Tolour (Vincent Cassel). Before he even turns informant on ADM with the help of the FBI, most prominently represented by Scott Bakula and Joel McHale, Whitacre (an uproarious Matt Damon) is seen as being obsessed with the pulse-pounding narratives of John Grisham and Michael Crichton novels and movie adaptations, and it’s seemingly the feigned anti-corporate tone of those books that makes him believe that he is separate from their price-fixing and general dirty deeds. Thank goodness it wasn’t. In a story that feels like it was being made up as it was being shot, the director got his Hollywood friends – led by Julia Roberts, coming off her “Erin Brockovich” Academy Award – to partake in an experiment that blurred the lines between fi… When he first meets Alex Pettyfer’s Adam, he’s working on a crew under a roofing contractor in the Tampa suburbs, installing mission-style clay roof tiles with gloves and a mallet. The 30 Best Movies … Mike likes the attention he gets from the ladies — and he especially likes the money — but he dreams of walking away from the business and doing something respectable, like selling custom-made furniture. All 28 Steven Soderbergh Movies Ranked From Worst To Best. There are also hints of another famous tale of persecution: Dreyer’s The Passion of Joan of Arc. Mrs. Taylor stabbed her husband (Channing Tatum) to death but doesn’t clearly remember the act, and she actively works with Banks to get her defense together and airtight. The opposite of a message movie, Traffic is shot through with Soderbergh’s trademark detachment, which makes its chronicling of wasted lives and the endless hamster wheel of inefficient law enforcement all the more despairing. Already a subscriber? The most genuinely effective of Soderbergh’s early-to-mid-aughts experimental features. But, c’mon, the plot and emotional oomph don’t much matter: It’s the sheer thrill of expertly choreographed up-close-and-personal fight scenes that goose the viewer along from sequence to sequence. Steven Soderbergh's Filmography Ranked: 16. The movie may be a bit cavalier in its expert execution and pulpy plot twists, but Unsane’s brazen disreputability ends up being a feature, not a bug. People complain the man’s work is chilly — but this film is practically embalmed. Following a quick succession of box office and Oscar hits, the director got $2 million from the Weinsteins to play with the new, inexpensive DV cameras and make something completely different. The movie depicts Kafka in a moment of artistic and political transformation and locates the influence in the ideas and scenes that he wrote in his novels and stories of the era. It’s also true of his aesthetic style and the staccato rhythm of his editing: he never wastes a shot nor does he allow the plotting to overgrow gestural notes of character or telling deliveries. Soderbergh’s second post-retirement film is, like Logan Lucky, a fun little exercise made by a guy who hasn’t just said goodbye to the studio system but also the demands of living up to anyone’s lofty expectations of him being a revered, world-class auteur. For the director, the movie offers a chance to experiment with non-linear storytelling in a distinctly ghostly setting – a spaceship manned by Clooney’s Chris Kelvin, Viola Davis’ Gordon, and Jeremy Davies’ Snow. The movie actually feels a little more like Traffic, though, with multiple stories occasionally intersecting (with the connective tissue of two money laundering narrators played by Gary Oldman and Antonio Banderas) in service of a larger point about … well, about Something Bad In Society. The script, courtesy of James Greer and Jonathan Bronstein, is lean and lively at every turn and for whatever limitations the technology might have presented, Soderbergh’s visual dynamism doesn’t feel remotely hemmed in. Indeed, in Soderbergh’s vision of loss and grief at the edge of the universe, nothing is fully resolved and it becomes hard to tell the difference between the living and the dead. For such an independently minded director, Soderbergh is sometimes at his best when he is in pure Hollywood mode. Brilliantly playing with the concept of the unreliable narrator, The Informant! Brad Pitt tapping into the goofball antics of his early career to play a cool guy who’s also a bit of a lovable dope. Once he arrives, however, he’s greeted by Rheya (Natascha McElhone), his dead wife who suddenly seems very much alive. Where Leonard’s Jackie Brown helped Quentin Tarantino find his inner Douglas Sirk, Out of Sight brings out Soderbergh’s love for New Hollywood crime dramas, the sort fashioned by Stuart Rosenberg and Peter Yates in the early 1970s. You’ve seen this sort of movie a thousand times, but Soderbergh makes it all seem new. Some of them are big studio tentpoles; some of them are micro-budget doodles; some of them seem to alienate on purpose. Good luck finding it, though: The film was never released on DVD in the United States and the rights themselves have reverted back to Soderbergh, who vows he’ll someday recut and re-release it. But once Tobey Maguire’s scheming soldier Tully is murdered, Jake uncovers a plan that involves high-tech weapons and a stormy prostitute (Cate Blanchett) whose husband may or may not be dead. From Chris Cabin, Noah Baumbach Reuniting with Adam Driver, Greta Gerwig for Netflix Adaptation of ‘White Noise’, ‘Locked Down’ Review: A Bizarre Movie for Bizarre Times, Pedro Pascal on ‘Wonder Woman 1984’, ‘The Mandalorian’, and David E. Kelley's 'Wonder Woman' Pilot, Disneyland Cancels Annual Passholder Program, Promises “New Membership Offerings”, Disney+’s ‘Flora & Ulysses’ Trailer: This Squirrel Superhero Will Drive Your Dog Insane, AGDQ 2021 Raised Nearly $3 Million for Charity This Weekend; Watch the Event's Epic Speedrunning VODs Here, First ‘I Care a Lot’ Trailer Features Rosamund Pike at Her Meanest. Extra demerit for including Bruce Willis in a meta role. Full Frontal is not very memorable, and that’s not something you can often say about a Soderbergh joint. This remake of a not very good Rat Pack joint underlines the entire artistic philosophy of Soderbergh, utilizing a gang of barely reformed, low-level criminals to take down corrupt casino owner Terry Benedict (Andy Garcia). And of course, in return, he makes Gray’s Anatomy more than either a documentary or a simple recorded stage piece, but rather a wholly unique kind of narrative built around one man, aided only by his unparalleled creative mind and memory. Seen now, though, The Girlfriend Experience is a perfect encapsulation of what life felt like as the fate of the world’s economy hung in the balance. With its nods to Shock Corridor and One Flew Over the Cuckoo’s Nest, Unsane is a punkish thriller about a young woman named Sawyer (Claire Foy) held against her will in a mental institution, confronting the fact that her stalker (a wonderfully creepy Joshua Leonard) may or may not be one of the nurses. After retiring from feature filmmaking for several years, my favourite American director is back this week with Logan Lucky. A Shock Corridor for the #MeToo movement. Soderbergh had just parted ways with Sony over its adaptation of Moneyball, and in the midst of his funk, the dejected director happened to catch MMA fighter Gina Carano on TV. In hindsight, for all the great sense of visual and dialectical detail that the director showcases here, King of the Hill is ultimately about the importance of self-reliance and self-restraint, knowing that you’re on the level when everything else drops out. The Films of Steven Soderbergh, Ranked 'Unsane' is the latest addition to a long and diverse list of Steven Soderbergh films. The big final party brings more talk of Kathryn’s racism, while Madison and Austin continue to flirt and spar. Logan Lucky (2017) The most recent work by Soderbergh on this list, Logan Lucky, is a heist comedy film that forced the filmmaker to come out of retirement to direct it and then to distribute it through his company. Steven Spielberg is a living legend. Steven Soderbergh Ranked from Best to Worst. As is often the case in Soderbergh’s movies, professional talent and love of work are celebrated but that same take-charge attitude causes an imbalance, even strife at home. This, the story of a famous novelist (Streep) who takes a cruise to accept an award in England with her two college best friends (Dianne Weist and Candice Bergen) and her nephew (Lucas Hedges), is the better of their two collaborations, but it’s still awkward and fumbling. Soderbergh films Los Angeles with a melancholic breeziness, a land for the restless and spiritually exhausted, and it breaks out into dramatic compositions, such as when Wilson raids an office looking for his prey. Shot in down-and-dirty Soderbergh fashion, this time entirely with an iPhone, High Flying Bird is basketball film with no actual basketball in it: It follows an NBA agent (Andre Holland) navigating a lockout while he both tries both to get his star rookie point guard paid and to change the entire financial structure of the sport. 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