No Sudden Move

Spoiler Alert: Honest question based on the written addendum: Who is that for? I want to have a sit down with the person that was arguing that car companies in the 50's cared about the environment more than profit. Does this person exist?

This, by all definitions of the words, is a movie. I did watch it. There is nothing bad here, nor is there anything good. It just is. Watch this if you want to spend two hours and beef up your film ratings total.

Would have been better if there were at least SOME sudden moves. Characters constantly mentioned other characters' names but we never knew who the hell they were talking about. It seemed kind of important. Started off promising but ended in a big "so what?" Seemed silly to have a "fact" scrawl at the end, when everything in the movie is fictional.

Soderbergh is the rare creative that's both a technician and an artist, in equal parts. His latest film knows its sources yet colors gleefully outside the lines, creating its own identity out of established genre and style. I loved the (polarizing) use of ultra wide angle lensing that plays a knowing wink to the audience while also generating a claustrophobia for its characters even in the widest of frames. Its McGuffin - everyone, and no one, gets the pay off - achieves a mythical quality.

Despite the many twists it was sometimes sluggish and with a cast like this I should have been captivated. It's getting compared to Ocean's Eleven but it's not even close. Ocean's was enjoyable because the charm of the amazing cast was tapped, whereas here they felt underused. Now, it's a different type of caper, less flashy. The lens choice--mixed with the panning camera--made some scenes really unpleasant because of the weird distortion it caused. Still entertaining as a whole though.