Finally. I told you I'd review all the Ocean films and I did. Check back later for my thoughts on the documentary In the Realms of the Unreal. On the main site, also, keep checking for my soon to be released top ten list. You can see Joe's favorites listed on the front page right now, so be sure to give that a look. More classic film reviews will be on the way. Plenty is happening here at filmbrats. You don't want to miss it.
Ocean’s Twelve
Review by Jon Waterman
*
Danny Ocean and his boys are at it again. Well, actually, Terry Benedict is at it, forcing the old crew of eleven to be at said “it.” You see, Terry wants all the money that was stolen from his casinos back. He has been in contact with a mastermind thief to track everyone down. If the money isn’t repaid in full, with interest, Mr. Benedict is going to the authorities. Well, the guys already spent the majority of the cash on various things. So, how will they come up with the tens of millions needed to square up the bill? Why, by stealing of course. What else?
With “Ocean’s Eleven” I was in. This time, count me out. For starters, once again it takes far too long to get into anything. We spend a good half hour or more catching up with everyone and reintroducing the characters. I could honestly care less what they’ve been up to, or how they spent the money. It didn’t mean anything to the storyline or to the audience. So, by the time any sort of actual plot line comes along, the interest in gone. Screenwriter George Nolfi (who’s only previous work is the sure-to-be-classic, “Timeline”) doesn’t get things moving any better once the heist starts up. The first job they pull was too uncomplicated, and the major one was complex beyond comprehension. All the twists and turns couldn’t be predicted, but they also couldn’t be believed (even for a movie that requires so much suspension of reality as this). It makes this whole escapade rather lifeless.
The characters aren’t as fun as they were, either. A big problem is the addition of the other thief, the Night Fox (played by Vincent Cassel from “Irreversible”). He’s out to one-up everyone and prove that he’s the best in the world, and so he sabotages their efforts. The movie probably didn’t need two enemies (three if you count the FBI agent played by Catherine Zeta-Jones). That’s a bit of overkill. He wasn’t even a good character to begin with.
The visual aspect suffers from the same type of overload. Director Steven Soderbergh shoots most of his own stuff (under an alias). This time, he also brought in another cinematographer in Chris Connier. Even though he worked on “Angela’s Ashes,” I think having the two working like this created too much of a mish-mash, stylistically. It tried to accomplish everything and hit the eyes with all sorts of tricks and maneuvers and whatnot, which made it all fail.
I have a problem with the name, too. I know that’s the easiest way to indicate a sequel and everything. But they didn’t really add another person. Sure, an argument could be made that they did, but look at the big picture of the movie and you’ll see that the twelve is essentially meaningless. The hokeyness of the script verged on insulting, especially at the end. But for the most part, the big problem is that it just wasn’t fun or interesting or exciting.
++++++++++
Ocean’s Eleven (2001)
Review by Jon Waterman
***1/2
Straight out of prison, Danny Ocean has a plan. He’s looking to pull off one of the most complicated heists ever attempted. Cash from three casinos are kept in one single vault. The only problem is that it’s the most impenetrable vault ever created. Danny’s going to need a little help. So, he calls on his fellow robber friends and assembles a crack team full of professional, shysters, heisters, and cheats. The take is huge, but so is the risk. Are you in or are you out?
I’d have to say that I’m in. Director Steven Soderbergh and writer Ted Griffin collaborate to bring the original movie starring Frank Sinatra and the rest of the Rat Pack back and update it for the forty-year gap. Boy, was it updated. This time, the job requires much more intelligence, foresight and myriad skill sets to pull off. You also get a love story tacked on in a certain roundabout way. It’s not central, nor is it distracting, but it’s much more evident and carries more weight than in the old one.
The characters interact better here, as well. One key difference is that professional actors are used in every role, rather than a bunch of friends. Also, each character actually has something worthwhile to do – a defined roll, so it becomes the ensemble effort it should be. Although there may not have been an established group prior to filming, you can still sense a nice cohesion amongst them. They play off of each other brilliantly and keep the great jovial attitude with them as the actually act their parts.
The movie isn’t perfect. The opening once again takes too long to introduce everyone, even though each introduction has a purpose. The film itself, running at almost two hours, could have been shortened. A couple of the side quests ultimately add nothing significant (like getting the “pinch” to blow the electrical system). There are also several plot holes and unexplained factors that could distract you or leave you wondering. The ending doesn’t sit as well with me as the original did, either.
But ultimately, this new version is so different from the original that it hardly seems like a remake. Even if it were a more straight-on rehashing, just adding Steven Soderbergh’s visual touch would make it better than the 1960 film. It’s smart, funny, charming, tricky and exciting. Where as that version was campy fun, this is actual, legitimate fun with no guilty pleasure aftertaste.
Ocean’s Twelve
Review by Jon Waterman
*
Danny Ocean and his boys are at it again. Well, actually, Terry Benedict is at it, forcing the old crew of eleven to be at said “it.” You see, Terry wants all the money that was stolen from his casinos back. He has been in contact with a mastermind thief to track everyone down. If the money isn’t repaid in full, with interest, Mr. Benedict is going to the authorities. Well, the guys already spent the majority of the cash on various things. So, how will they come up with the tens of millions needed to square up the bill? Why, by stealing of course. What else?
With “Ocean’s Eleven” I was in. This time, count me out. For starters, once again it takes far too long to get into anything. We spend a good half hour or more catching up with everyone and reintroducing the characters. I could honestly care less what they’ve been up to, or how they spent the money. It didn’t mean anything to the storyline or to the audience. So, by the time any sort of actual plot line comes along, the interest in gone. Screenwriter George Nolfi (who’s only previous work is the sure-to-be-classic, “Timeline”) doesn’t get things moving any better once the heist starts up. The first job they pull was too uncomplicated, and the major one was complex beyond comprehension. All the twists and turns couldn’t be predicted, but they also couldn’t be believed (even for a movie that requires so much suspension of reality as this). It makes this whole escapade rather lifeless.
The characters aren’t as fun as they were, either. A big problem is the addition of the other thief, the Night Fox (played by Vincent Cassel from “Irreversible”). He’s out to one-up everyone and prove that he’s the best in the world, and so he sabotages their efforts. The movie probably didn’t need two enemies (three if you count the FBI agent played by Catherine Zeta-Jones). That’s a bit of overkill. He wasn’t even a good character to begin with.
The visual aspect suffers from the same type of overload. Director Steven Soderbergh shoots most of his own stuff (under an alias). This time, he also brought in another cinematographer in Chris Connier. Even though he worked on “Angela’s Ashes,” I think having the two working like this created too much of a mish-mash, stylistically. It tried to accomplish everything and hit the eyes with all sorts of tricks and maneuvers and whatnot, which made it all fail.
I have a problem with the name, too. I know that’s the easiest way to indicate a sequel and everything. But they didn’t really add another person. Sure, an argument could be made that they did, but look at the big picture of the movie and you’ll see that the twelve is essentially meaningless. The hokeyness of the script verged on insulting, especially at the end. But for the most part, the big problem is that it just wasn’t fun or interesting or exciting.
++++++++++
Ocean’s Eleven (2001)
Review by Jon Waterman
***1/2
Straight out of prison, Danny Ocean has a plan. He’s looking to pull off one of the most complicated heists ever attempted. Cash from three casinos are kept in one single vault. The only problem is that it’s the most impenetrable vault ever created. Danny’s going to need a little help. So, he calls on his fellow robber friends and assembles a crack team full of professional, shysters, heisters, and cheats. The take is huge, but so is the risk. Are you in or are you out?
I’d have to say that I’m in. Director Steven Soderbergh and writer Ted Griffin collaborate to bring the original movie starring Frank Sinatra and the rest of the Rat Pack back and update it for the forty-year gap. Boy, was it updated. This time, the job requires much more intelligence, foresight and myriad skill sets to pull off. You also get a love story tacked on in a certain roundabout way. It’s not central, nor is it distracting, but it’s much more evident and carries more weight than in the old one.
The characters interact better here, as well. One key difference is that professional actors are used in every role, rather than a bunch of friends. Also, each character actually has something worthwhile to do – a defined roll, so it becomes the ensemble effort it should be. Although there may not have been an established group prior to filming, you can still sense a nice cohesion amongst them. They play off of each other brilliantly and keep the great jovial attitude with them as the actually act their parts.
The movie isn’t perfect. The opening once again takes too long to introduce everyone, even though each introduction has a purpose. The film itself, running at almost two hours, could have been shortened. A couple of the side quests ultimately add nothing significant (like getting the “pinch” to blow the electrical system). There are also several plot holes and unexplained factors that could distract you or leave you wondering. The ending doesn’t sit as well with me as the original did, either.
But ultimately, this new version is so different from the original that it hardly seems like a remake. Even if it were a more straight-on rehashing, just adding Steven Soderbergh’s visual touch would make it better than the 1960 film. It’s smart, funny, charming, tricky and exciting. Where as that version was campy fun, this is actual, legitimate fun with no guilty pleasure aftertaste.
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