The “always a way out” attitude is saved by a coherent narrative arcs; phew, that was close.
Soderberg made a fool out of us. All this time he was securing his third act while we were busy laughing at his jokes. The director Steven Soderberg has smartly managed to get out of the red zone of ending a trilogy on a satisfactory note. It doesn’t suggest that he won’t have to make a good film. It’s just that he will have to focus on this very heist. The previous didn’t matter, couldn’t matter, if they tried. These are the benefits of a stand alone films, and Soderberg has managed to carve that piece out for this trilogy. Mostly considered to be an improvement than the previous chapter, to me this one felt more obliged to fulfill certain needs than any other films.
I know you are thinking that, now I am contradicting myself. But I am not stuck in a loop. The characters that are gifted with a hint of dramatic side takes a toll on the film’s up beating nature. Again, not to say that Soderberg doesn’t balance the drama and humor, if anything, he does it elegantly. But the film after choosing say “THIS” sort of narrative track, can’t just leave it hanging by, for the rest of the film.
And I think that Al Pacino takes the blame for this phenomenon. His character unfortunately goes undercooked and hence never overpowers anyone, anywhere and anytime in the film. And that is extremely dangerous for the film that spirals out by his terror, when you don’t communicate with his menacing ideologies. The corporate formal world that he is arrogantly a part of, is smartly differentiated by the writers by giving him a blunt voice, but it is a drop in the ocean. It is never loud enough to make it ripple or make the Ocean’s Thirteen writhe.