Uber-Coolness On Demand

Rating: 9/10 (1 February 2011)

Three casinos. One hundred and fifty million dollars (the stakes, not the film's budgetbut you could be forgiven for thinking otherwise) and just under a dozen of modern cinema's most capable and recognised stars combining to create I daresay the greatest heist movie of all time. As Jake LaMotta once said: 'That's entertainment.'
Hit-and-miss director Steven Soderbergh assembles George Clooney and Brad Pitt, who in turn assemble Damon, Gould, Mac, Qin, Reiner, Jemison, Cheadle, Affleck (the good one) and Caan (the young one); a crack team of thieves and con-artists poised to rob Terry Benedict (Garcia) of his wealth and, if all goes well, his girlfriend (Roberts).
There is a lot to like about this film from an artistic perspective. The cinematography is always slick and co-ordinated beautifully with the required speedy pace. This is particularly impressive upon a second viewing. Because of how few individual shots were actually used in this film compared to most other contemporary efforts, one has to admire the skill in direction; being able to convey so much activity in so few shots without leaving the film feeling sluggish is a real credit to the production team.
While dynamic filmmaking from behind the lens is part of the reason for how well Ocean's Eleven engages its audience, it is the actors that set the tone perfectly. Heavy-hitters like Damon and Garcia are persistenly in control of every scene, and are complimented by some above-average performances from the rest of the cast.
But it is the fantastic interplay between Clooney and Pitt that makes the movie. Accommodated by an offbeat script that plays towards these two actors more than any others in the film, they inject a believable 'buddy-comedy' undertone, which doesn't feel at all out of place, probably because the movie refuses to take itself seriously. Rather than trying to convince us that to steal money from a casino in this way is actually possible, Soderbergh positively lets the mechanics fall by the wayside and instead puts his primary focus on pure entertainment.
As a rule of thumb, the ending of a heist film does not have to be its strength, as knowledgeable audiences are content to have simply gone along for the ride, and whatever ending the film throws together to justify the series of events will usually suffice. For Ocean's Eleven, this is where a refreshing point of difference lies. A twist ending of sorts, the conclusion is altogether satisfying, unique, and has clearly been well thought-out, so as to avoid a minefield of potential plot holes.
This film is as much about the essence of Vegas and excess as it is about a crime syndicate. A sexy soundtrack (the kind of music you expect to hear in the Hard Rock Hotel foyer), fun references to other genre-moulding crime films (including The Godfather and Sinatra's original Ocean's Eleven), expansive shots of The Strip's skyline and cameos galore make the film utterly enjoyable in the plainest sense of the word.
*There's nothing I love more than a bit of feedback, good or bad. So drop me a line on jnatsis@iprimus.com.au and let me know what you thought of my review.*