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Some of his movies are more cerebral than others, but none of them are lazy or half-assed.
I’ve said this a dozen times over the years: Soderbergh’s misfires are more interesting than most directors’ successes.
A funny thing happened as I was assembling this rundown of Steven Soderbergh’s feature films and documentaries.
I realized he might be my favourite American filmmaker.
I love pretty much all of these movies, so it’s more of a best-to-slightly-less-best-to-eventually-we-get-to-Side Effects kind of list.
Terence Stamp gives the performance of his career as Wilson, the hardest of hard men, newly arrived in Los Angeles to determine if his daughter’s death was really an accident.
A young Jesse Bradford plays Hotchner’s alter-ego Aaron Kurlander, who cares for his little brother when their father leaves them in St. The film is an exercise in empathy, with Soderbergh putting us right alongside Aaron as his resilience and courage are pushed to the very limit.
Six years after Spalding Gray’s 2004 suicide, Soderbergh and editor Susan Littenberg brought him back to life with this collage of videotaped performances, turning years of material into a single summary monologue. The postmodernist spin of Ocean’s Twelve rubbed a lot of people the wrong way, so Soderbergh returned to straight-up candy with the final chapter of the trilogy, reuniting most of the team (minus Julia Roberts and Catherine Zeta-Jones, who are missed) to take down Al Pacino’s jerkoff casino kingpin.