Soderbergh has been working on a new director’s cut of this black-and-white surrealist thriller for over a year at least at this point. Soderbergh’s posthumous tribute to Spalding Gray, made six years after his death, is another Soderbergh experiment, a documentary that has no narration or interviews. 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. Based on A.E. The result is a movie that goes off like a firecracker and has as little lasting impact. Instead, Contagion is a fascinating examination of process — how health officials try to combat the disease and how civilization starts to implode once it becomes clear that all hope is lost. All 28 Steven Soderbergh Movies Ranked From Worst To Best. Soderbergh’s big reset — the whacked-out, crazy-ass indie that he made so weird and self-referential that it seemed to make sense only to him — Schizopolis is still pleasantly incomprehensible today, the gonzo button Soderbergh needed to push to get himself back on track after his struggles following the Sex, Lies, and Videotape breakthrough. The way Julia Roberts speaks, the way her face dims and brightens with dread and excitement, and the moments when she doesn’t speak at all says as much about who Erin Brockovich is as her work on the case against Pacific Gas and Electric of California in the early 1990s does. This is also the movie where Soderbergh’s love for Orson Welles is most apparent. As an experiment, it’s amiable and well-acted but there’s no heart to it, no sense that Soderbergh or Attanasio saw anything of themselves in the material other than a fondness for an outdated style. 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). Then, he met Soderbergh, who was also interested in making something about the War on Drugs, suggesting the writer take a look at a British series called Traffik. The filmography of Steven Soderbergh catalogues the filmmaking of American director, producer, and screenwriter, Steven Soderbergh.He has directed 28 feature films and eight television programs. Steven Soderbergh and James Spader on the set of Sex, Lies, and Videotape; image credit: IMDb. (The film was shot in the period’s boxier aspect ratio, and incorporated boom mics and other 1940s-appropriate technology, including intentionally cheesy rear projection.) Joshua Bassett’s new single “Lie Lie Lie” has arrived. (In fact, they were rarely going to have his back unless he made them money.) Soderbergh, for his own mental health, may never make another movie like it, but this is Soderbergh working on a vaster canvas with equal mastery. There is not much about his death in Soderbergh’s graceful assemblage of footage of Gray from throughout his life – in movies, on stage, being interviewed on TV, etc. His natural habitat, however, is film, and in honor of his versatile career, I decided to rank all of Soderbergh’s films. It may be the only truly nostalgic movie Soderbergh has ever made, and here’s hoping he never falls back again. There’s a happy ending, on both levels, but unlike so many of these types of class-action-suit dramas, the climactic victories feel earned and never over-played. We will give points to Nicky Katt for being the funniest Hitler since Chaplin, though. 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And when it doubt, he just puts Julia Roberts and Albert Finney in a room and let’s them take over. Side Effects brazenly pushes plausibility to its breaking point, making room for lesbian subplots and characters who are so diabolically ruthless that they barely seem human. Grant and Soderbergh present Brockovich as a master of invention on an extremely lean budget, making up a story for her kids so that they don’t worry about her not eating and utilizing an untrustworthy babysitter in the name of cheap prices. Films include Ocean's Eleven, Ocean's Twelve, and Contagion I think the hardest movies to make are ones that don’t tackle tough issues, or are “powerful”. (Inevitably, Andy Garcia’s Terry Benedict is now on their side.) He’s made some fantastic movies, and he’s never made anything dull, but he’s also always so concerned with reinvention and experimentation that he’s never made the sort of go-for-broke, career-defining work you’d expect from such an ambitious filmmaker. 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. Soderbergh minces and matches genre here, but does it effortlessly — so effortlessly you’ll never notice. After retiring from feature filmmaking for several years, my favourite American director is back this week with Logan Lucky. One of Soderbergh’s most popular movies, with good reason. As such, it’s a waxworks, failing to generate much passion beyond a mild intellectual engagement in Soderbergh’s subversion of the earlier cinematic period’s tamer attitudes toward sex, violence, and cursing. Those familiar with the source material or Tarkovsky’s film know where Soderbergh’s reinterpretation is going. He’d swing bigger both before and after this movie, but this remains the one he got exactly right. constantly flaunts its phoniness, which ends up being a perfect way to critique the story’s theme of the lengths ordinary people will go to construct new, better versions of themselves. The first half is maybe a little stronger than the second, but the whole thing holds up well. In this filmed monologue, the late, ingenious Spalding Gray talks about all the ways that he attempted to avoid getting surgery for Macular pucker, a rare affliction of the eye. What Soderbergh sees in Brockovich and Susannah Grant’s superb script is likely the same as what Ed Masry (Albert Finney) saw: a born problem solver. 10 Movies That Deserve To Be Reevaluated Now That Times Are Different . It’s not as technically assured as sex, lies, and videotape or, for that matter, King of the Hill, Soderbergh’s next film, but even at an early age, Soderbergh revealed himself to be an antic, studied visual artist skeptical of repeating himself. A newscast in this film refers to Logan Lucky’s heist as “Ocean’s 7-11,” and while you smile at the meta joke, the film earns the comparison. A game ensemble, including Channing Tatum, Jude Law, and Catherine Zeta-Jones, is clearly up for anything Soderbergh dishes out. Made at the time when plenty of remarkable directors were making extremely ugly movies on digital, this 2002 whatsit feels like a jumble of ideas spread out across a series of disjointed exchanges between a gang of talented actors, including Julia Roberts, Blair Underwood, David Duchovny, and David Hyde Pierce. Search for: Search. "We’re always giving notes and they are very kind to welcome opinions.". All that said: The movie is not without its charms — it looks great, it has Soderbergh’s famously cracked sense of humor and it is never, ever dull — and it certainly has value for the Soderbergh completist, particularly for those fascinated by his early, enfant terrible period. Underneath the bubbly yet surprisingly resonant drama, Soderbergh considers questions of rehabilitation and influence, but this is one of those rare cases in his career where the sheer entertainment value of the film outweighs the thematic density of his work, and that’s could only possibly be seen as a bad thing in the eyes of a perfectionist like Soderbergh. Log in or link your magazine subscription, Photo-Illustration: Maya Robinson/Vulture, Steven Soderbergh Insists His Improvised Movie Was Not That Improvised, Ray Fisher Confirms That He’s Been Removed From the Cast of. Steven Soderbergh’s 10 best films ranked in order of greatness faroutmagazine.co.uk - Swapnil Dhruv Bose “To me the director’s job is to leave it in better shape than you found it, literally.” – Steven Soderbergh American filmmaker Steven Soderbergh has … Ocean’s Thirteen. He’s made some fantastic movies, and he’s never made anything dull, but he’s also always so concerned with reinvention and experimentation that he’s never made the sort of go-for-broke, career-defining work you’d expect from such an ambitious filmmaker. The pair were married for 50 years prior to the television legend’s death in 2003. Not only are they wildly different — they even vary in terms of Soderbergh’s intent. Michael Douglas’ judge might wield the most power in the fight to shape better domestic drug policy but losing the PR war decimates his influence, whereas the dirty, legally dubious bargains and the testimony that Benicio del Toro’s good cop can facilitate might do more for the real work of cutting down the cartels. That boss later busts Adam for taking more drinks and snacks than is allowed. Thank goodness it wasn’t. Doja Cat and Megan Thee Stallion Keep You Up All Night With Ari’s ‘34+35’ Remix, Emma Thompson to Hurl You Over the Fence in Netflix’s. We’d watch all of these again, even the bad ones. Based on the Stanislaw Lem novel that also inspired Andrei Tarkovsky’s towering 1972 film, this new Solaris starred George Clooney as Chris Kelvin, a psychiatrist who travels to a remote space station orbiting the planet Solaris. Saturday Night Fever (1977) 82% #13. — gives the film a haunting elegance. He’s still one of the most fascinating filmmakers on the planet, and every new movie is an instant must-watch. If Soderbergh needed to make it to get on with his life, good for him, and good for us. If this sequel to Soderbergh’s Ocean’s Eleven is worth anything, its in the cast that the director assembles and his own cinematography under the moniker Peter Andrews, which together tests the limitations of polishing turds. Perhaps the most fascinating thing about Steven Soderbergh’s nearly 30-year film career is that he’s a genius without a masterpiece. Magic Mike has the intoxicating rush of a Scorsese film as Mike and his cohorts live it up as the kings of Tampa but — like in a Scorsese film — eventually drugs, egos and money ruin everything. But ultimately, Side Effects feels a bit too mechanical, a bit too amused with its own intrigue, to feel like the proper sendoff. Post navigation. Then the sexual intrigue kicks in, with Banks being implicated in having an affair with Emily with the help of another doctor, Dr. Siebert (Catherine Zeta-Jones). The final Spalding Gray monologue film is the most visually interesting of any of them — Soderbergh seems to have a mindmeld with Gray, and Soderbergh would later work on another documentary about him after he died — but, unfortunately, it’s perhaps the least interesting of all of Gray’s works. The Ellen Barkin/Rusty Ryan story still doesn’t work, but it’s a fitting, pleasant conclusion. Matt Damon happily serving the Ringo Starr/younger brother role alongside his older costars. Roberts won the Oscar for her role here and if there’s a performance more worthy of the honor in her oeuvre, I haven’t seen it. This is the only you’ll see in which the big reveal concerns an obscure civil rights book that’s more than 50 years old. The man doesn’t entirely put away his auteurist idiosyncrasies, but here he allows his formidable skill with suspense, misdirection, and clockwork storytelling to take the lead. Subscription Options: Horror Movie Lists Roundup. Steven Spielberg is a living legend. Plus: If Soderbergh ever decides to retire again, he definitely has a career in Funny Mirror Faces. It should come as no surprise that the latter is the less successful route, as we watch Chris fail to get a foothold at a sports equipment store or a more high-scale gym than the one he works out of; he can’t even get a promotion at the gym he’s at, in fact. 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. A bunch of strange things and seeing how they turn out actors just relax each! 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