OCEAN'S THIRTEEN

OCEAN'S THIRTEEN (2007). Director: Steven Soderbergh.

When Reuben Tishkoff (Elliott Gould) winds up in the hospital because he gets screwed over by hotel man Willy Bank (Al Pacino), his friends gather together to enact one more con. The idea is to deprive Bank of a coveted award by giving the reviewer (David Paymer) a miserable vacation -- and ruining Bank's opening night -- while rival hotelier Terry Benedict (Andy Garcia) agrees to help with their plan if they steal some of Bank's coveted diamonds for them. Ocean's Thirteen is leisurely but entertaining, with the best acting from Paymer, Garcia [Twisted], Gould, Pacino and Carl Reiner, not to mention Don Cheadle and especially Ellen Barkin [Adventures of Buckeroo Banzai Across the 8th Dimension] in an excellent turn as Bank's security gal, Abigail. George Clooney and Brad Pitt sort of saunter dully through this affair without raising a sweat, while Matt Damon is somewhat more interesting. Soderbergh also directed Behind the Candelabra and the inferior Ocean's Twelve.

Verdict: Amiable nonsense. ***.

BEHIND THE CANDELABRA

Matt Damon and Michael Douglas

BEHIND THE CANDELABRA (2013 telefilm). Director: Steven Soderbergh.

There seems to be no way around the fact that popular entertainer Liberace (Michael Douglas) was a big, flamboyant, outrageous gay stereotype, and this telefilm makes no attempt to get around it. It is also based on the book by Liberace's [ex] lover Scott Thorson (Matt Damon), so really has to be taken with a grain of salt. Thorson appears to be a type of [supposedly bisexual] hustler who moves in on Liberace even as Liberace moves in on him -- and suggests he move in with him. The movie suggests that the promiscuous entertainer eventually wanted to replace Thorson with a younger model, making him little different from a lot of straight guys. The one thing the telefilm has going for it is the acting, with Douglas [The China Syndrome] giving an outstanding performance that almost makes Liberace likable, and Matt Damon [The Departed] is not far behind him. Rob Lowe is also quite good as the shady "feelgood" Dr. Startz. Dan Ackroyd and Cheyenne Jackson [The Most Happy Fella] also have significant roles, and Debbie Reynolds is fine as Liberace's mother. Soderbergh also directed Douglas in Traffic.

Verdict: It's well-acted and certainly holds your attention, even if it often comes off like a gay dirty joke. ***.

SIDE EFFECTS

Jude Law in a tense moment

SIDE EFFECTS (2013). Director: Steven Soderbergh.

Emily (Rooney Mara) welcomes her husband, Martin (Channing Tatum) home from jail after his incarceration for insider trading, but the changes in her life depress her and cause her to attempt suicide. A sympathetic shrink named Dr. Banks (Jude Law of Alfie) prescribes a new drug recommended by Emily's previous analyst, Dr. Siebert (Catherine Zeta-Jones). When Emily apparently slaughters her husband while sleepwalking, it is not only the drug that is called into question, but Dr. Banks himself. As he finds his life unraveling, he uncovers disturbing information about Emily -- maybe she wasn't sleepwalking when she murdered her husband? Or is he clutching at straws? Side Effects is a twisty thriller, with a good idea and interesting sequences, but it's not that well done all told. One of the characters sort of comes off like an old-fashioned evil lesbian [perhaps for no other reason than to show some girl-on-girl action]. Jude Law and Mara give good performances, but the most impressive is Zeta-Jones [Ocean's Twelve], with Ann Dowd also making an impression as Martin's concerned mother. This modern version of the old Lauren Bacall thriller Shock Treatment is quite contrived but has a satisfying conclusion and a nice score from Thomas Newman.

Verdict: Always read the label. **1/2.

TRAFFIC (2000)

Michael Douglas as Judge Wakefield

TRAFFIC (2000). Director: Steven Soderbergh.

Compressing a long BBC mini-series [Traffik] into a two and a half hour movie, this feature deals with different aspects of the drug traffic, from Mexican cops and dealers, to American drug lords and narcs, to a Judge or "drug czar," investigating the problem who discovers his own daughter is an addict. Michael Douglas is the judge; Steven Bauer is the businessman who turns out to run a drug cartel, and Catherine Zeta-Jones is his initially unknowing wife who ultimately proves as ruthless as he is, wanting to take out a witness played by Miguel Ferrer. Others in the cast include James Brolin [The Car], Albert Finney [Tom Jones], Dennis Quaid [Legion], Benicio Del Toro [The Wolfman/2010] , and Don Cheadle [Iron Man 2] as a cop. The acting is okay and sometimes better than that, but the movie is disjointed [you get a sense that an awful lot was left on the cutting room floor] and badly directed. The movie holds the attention but it should be riveting and it isn't. Worse, some of the developments stretch credulity; certainly there is enough drama in the subject without contriving improbable sequences, such as the judge hitting the streets instead of calling the cops to find his daughter? This is not great movie-making by any stretch of the imagination.

Verdict: A movie on this subject shouldn't be so blah. **.

OCEAN'S TWELVE

OCEAN'S TWELVE (2004). Director: Steven Soderbergh.

As the remake of Sinatra's Ocean's 11 was better, cleverer, and more entertaining than the original (if not exactly a world-beater), there were some high hopes that Ocean's Twelve would surpass it. What we have instead is a sporadically entertaining film that goes on too long, is over-complicated, and gets too clever for its own good. The casino boss (Andy Garcia) that the gang robbed in the last picture threatens each member with death if they don't repay him the money they stole – with interest. They now have two weeks to raise or steal 197 million dollars! This brings them into competition with a French master thief in an attempt to steal a priceless Faberge egg. Catherine Zeta-Jones appears as an old girlfriend of Brad Pitt's who also happens to be a detective, and Julia Roberts is back as George Clooney's wife. To help steal the egg she has to pretend to be -- “Julia Roberts.” [This whole business, in which the real Bruce Willis – who knows the real Julia -- shows up to complicate matters is amusing but threatens to take over the whole picture.] The performances are okay, if minor, and Elliot Gould and Carl Reiner effortlessly steal the show in their few brief scenes. This is not without entertainment value, but it runs out of juice long before the conclusion.

Verdict: A bit too self-congratulatory. **.