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Perhaps the most fascinating thing about Steven Soderberghs nearly-40-year film career is that hes a genius without a masterpiece.
Hes brilliant, but contained.
Even though we never reallybelieved he was retired,were elated that hes back in full force.
But ranking Soderbergh movies is particularly difficult.
Not only are they wildly different they even vary in terms of Soderberghs intent.
But every single one of them is fascinating.
Wed watch all of these again, even the bad ones.
People complain the mans work is chilly but this film is practically embalmed.
We will give points to Nicky Katt for being the funniest Hitler since Chaplin, though.
The result is a frustrating art project thats intentionally off-putting.
For now, though: The best you’re able to do are old grainyYouTube videos.
Still, give the director and his star credit for shaking up the formula.
And for knowing its probably best to let Mike dance off into the sunset.
Nevertheless, this twisty thriller certainly suggested a director who needed to recharge his batteries.
Thank goodness it wasnt.
Maybe thats why Streep wanted to work with Soderbergh in the first place?
To chill out a little bit?
This is mostly an odd trifle that, frankly, both of Streep and Soderbergh are better than.
Those familiar with the source material or Tarkovskys film know where Soderberghs reinterpretation is going.
gives the film a haunting elegance.
Part mystery (Whoisthis presence?
And what does it want?)
(Lucy Liu and Chris Sullivan are the slowly fraying married couple.)
Soderbergh himself plays a man named Fletcher Munson, while his then-wife Betsy Brantley plays his wife.
They appear to be going through a protracted breakup on screen through empty, flat dialogue and relentless monotony.
The film is so strange that its sort of irresistible, if impenetrable.
Plus: If Soderbergh ever decides to retire again, he definitely has a career in Funny Mirror Faces.
This was still Soderbergh inSchizopolismode, trying out a bunch of strange things and seeing how they turn out.
In a way, he brought his A-game more than Gray did.
23.Contagion(2011)
Trafficfor theOutbreakcrowd,Contagionis uniquely suited to Soderberghs sober, meticulous approach.
Like Sawyer, were never quite sure whats coming at us next.
It doesnt have the kicky pleasure of theOceansflicks or the serene, sexy flair ofOut of Sight.
(Not surprisingly, Soderbergh considers this his favoriteOceansfilm.)
Still: These movies, all three of them, remain compulsively watchable.
(Inevitably, Andy Garcias Terry Benedict is now on their side.)
The Ellen Barkin/Rusty Ryan story still doesnt work, but its a fitting, pleasant conclusion.
The whole thing works magnificently, allowing Gray to essentially be his own eulogist.
And kudos to yet another superb Cliff Martinez score.
The result is a movie that goes off like a firecracker and has as little lasting impact.
If thats the next step in his career, he is off to a fantastic start.
(Adding to the suspense, Blanchett may herself be the mole.)
Plus, its really funny and sexy.
The first half is maybe a little stronger than the second, but the whole thing holds up well.
The movie is more style than substance, but heavens, what style.
6.Erin Brockovich(2000)
The most rousing, most conventional crowd-pleaser Soderbergh will ever make.
But its striking how much this stillfeelslike a Soderbergh film.
Youve seen this sort of movie a thousand times, but Soderbergh makes it all seem new.
5.The Informant!
Theres no more fitting description of this ace piece of star-powered studio moviemaking.
And yet, the film stands as Soderberghs peak as a super-confident, give-em-a-show director.
Clooney finally wearing the Cary Grant comparisons as comfortably as he fills out that tux.
Matt Damon happily serving the Ringo Starr/younger brother role alongside his older costars.
Andy Garcia at last getting the elegant villain role hes always deserved.
Revered icons Carl Reiner and Elliott Gould having an absolute ball.
From there cameTraffic, which demonstrated the directors talent for multi-pronged narratives that are both thrilling and thematically rich.
Soderbergh minces and matches genre here, but does it effortlessly so effortlessly youll never notice.
And the hotel-room scene remains a standard for movie sensuality still today.
Hed swing bigger both before and after this movie, but this remains the one he got exactly right.
