Start the car at your own risk, the getaway driver has another place to be.
Soderberg’s smoothest and underappreciated trilogy started from this standard chapter. I’d like to think that this is very much in similar to Rian Johnson’s films. In the sense that the plot is incredibly thick and easily flamboyant in any circumstances it faces, as a result the storyline flips, turns, detours and shoots straight before reaching its destination. Now if a viewers isn’t in sync with the on going gag or banal plans, the final product might come off quite textbook. Now, I don’t know whether the script is written with such reverse engineering in mind or is always up for investing on engaging flim flams.
The director Steven Soderberg has created history for me while making this trilogy. There have been plenty of multi-starrer films as such but none of them went by as swiftly as this one does. And the trick he uses is not to keep these characters linked scene by scene and instead the object that serves the objective. And then, face changes, agendas changes, plan changes and the team changes but the objective stands tall.
Despite having an incredible cast, Brad Pitt and George Clooney are mostly standing ahead in the queue. And why wouldn’t they, their repartee, between a huge heist going down, about little thing is what makes it rain in this night. The small talks, the actual talks, the bone and not the meat of the material comes when Pitt and Clooney is waiting for something. Kind of like they are in between reality and fantasy, the past and the future, where they stand in present solving an entirely different solution. Almost as if that window is for you to see, not for the characters or even any other viewers, just for me. Ocean’s Eleven isn’t actually the name they came up with, it should have been called The Benedict Job, I mean they all agreed to it.