The use of storied comedic improvisers, including Tom Papa, Patton Oswalt, McHale, and Tony Hale amongst others, underlines Soderbergh’s fascination with people who make up their own stories as they go along. Then, he met Soderbergh, who was also interested in making something about the War on Drugs, suggesting the writer take a look at a British series called Traffik. Release Calendar DVD & Blu-ray Releases Top Rated Movies Most Popular Movies Browse Movies by Genre Top Box Office Showtimes & Tickets Showtimes & Tickets In Theaters Coming Soon Coming Soon Movie News India Movie … Based on Scott Thorson’s memoir of his time as Liberace’s boyfriend, Behind the Candelabra is also one of the infamously cerebral filmmaker’s warmest movies, showing how the aspiring veterinarian (Matt Damon) came into the orbit of the famously flamboyant performer (Michael Douglas). The whole thing works magnificently, allowing Gray to essentially be his own eulogist. What keeps the film from placing higher on our list, however, is that for all its queasy atmosphere, Contagion suffers when it tries to flesh out its characters. A decade away from that, it’s a moderately interesting exercise — that word again — that gives Soderbergh a chance to cobble together a story about the working class and the rage that lurks beneath, using non-professional actors and mostly improvised dialogue. Instead, Contagion is a fascinating examination of process — how health officials try to combat the disease and how civilization starts to implode once it becomes clear that all hope is lost. The movie was reportedly improvised heavily, and the scenes where the actors just relax with each other and banter are charming and compelling. Even at the time, no one really bought Soderbergh’s insistence that he would retire from filmmaking after Side Effects. You don’t need a plot recap — the damn movie’s probably on cable right now — but let’s take a moment to remember how impossibly fun the whole enterprise was. But where Traffic was focused and urgent, The Laundromat feels jokey and scattershot and not particularly invested. The movie that drove Soderbergh crazy — he still talks today about how much the film burned him out — turned out to be worth all the trouble. From the outset, there may be no more alarming sentence in modern filmmaking than “I want to remake a Tarkovsky movie.” It’s just not done, and for whatever the Russian master’s legacy as one of the great titans of the cinema, his films were never a box office draw on stateside. The MCU’s unplanned drought comes to an end with a bold, intriguing deviation from the norm, but what’s all this building toward? Soderbergh minces and matches genre here, but does it effortlessly — so effortlessly you’ll never notice. For all the technical mastery that Soderbergh often showcases, his performers exude a rare freeness, an easy melding of persona with written character that brings about an unforced naturalness and resonance. In a way, he brought his A-game more than Gray did. It’s also true of his aesthetic style and the staccato rhythm of his editing: he never wastes a shot nor does he allow the plotting to overgrow gestural notes of character or telling deliveries. Soderbergh films Los Angeles with a melancholic breeziness, a land for the restless and spiritually exhausted, and it breaks out into dramatic compositions, such as when Wilson raids an office looking for his prey. The go-to source for comic book and superhero movie fans. Revered icons Carl Reiner and Elliott Gould having an absolute ball. There is not much about his death in Soderbergh’s graceful assemblage of footage of Gray from throughout his life – in movies, on stage, being interviewed on TV, etc. Fury, resentment, guilt, and grief blend together in Wilson’s war against Valentine, interrupted for lovely interludes with fellow ex-con Eduardo (Luiz Guzman) and Lesley Anne Warren’s Elaine, Wilson’s friends and neighbors in the small seaside community where he plots. Thank goodness it wasn’t. Updates on all of the celebrities, politicians, and more who have been vaccinated for the coronavirus. But, c’mon, the plot and emotional oomph don’t much matter: It’s the sheer thrill of expertly choreographed up-close-and-personal fight scenes that goose the viewer along from sequence to sequence. In this filmed monologue, the late, ingenious Spalding Gray talks about all the ways that he attempted to avoid getting surgery for Macular pucker, a rare affliction of the eye. Still: These movies, all three of them, remain compulsively watchable. Joshua Bassett’s new single “Lie Lie Lie” has arrived. You\'ll receive the next newsletter in your inbox. A titanic bore. Consider rumors of Gomez’s upcoming Spanish-language music confirmed. Just imagine if Fishburne was playing a director and Ehle was his cinematographer or set designer, and the value of the work remains, even if its urgency is moot in the face of a killer disease. Unfortunately, every time the plot comes in — especially during an out-of-nowhere last-act twist — the movie grinds to a halt. His directorial works have grossed over US$2.2 billion worldwide. When he first meets Alex Pettyfer’s Adam, he’s working on a crew under a roofing contractor in the Tampa suburbs, installing mission-style clay roof tiles with gloves and a mallet. Watching it in the moment, there are stretches where Soderbergh’s plan seems to be “confuse them and then run,” but the overall feeling is that of refusal to play by the accepted dictates of narrative and frustration at its limitations, a feeling that fans of his should be used to. With the release of this week’s Let Them All Talk on HBO Max, we took a look back at all of his feature-length releases and, of course, ranked them. In hindsight, for all the great sense of visual and dialectical detail that the director showcases here, King of the Hill is ultimately about the importance of self-reliance and self-restraint, knowing that you’re on the level when everything else drops out. The monologist Spalding Gray took his own life in 2004, when his body was found in the East River after he reportedly jumped off the Staten Island Ferry. Rarely has Soderbergh brought out as much character in a city as he does with Detroit, where Clooney’s thief must enter a deal with a local would-be kingpin (Don Cheadle) to rob the home of a corrupt banker (Albert Brooks). Soderbergh and cinematographer Elliot Davis give this period drama a nostalgic glow, but that’s a bit of a feint: King of the Hill may look warm and wistful, but its story is actually rather unsentimental about the ways that the adult world can look positively frightening to kids — especially when it’s thrust upon them way too early in their lives. Soderbergh’s posthumous tribute to Spalding Gray, made six years after his death, is another Soderbergh experiment, a documentary that has no narration or interviews. Search for: Search. You’ve seen this sort of movie a thousand times, but Soderbergh makes it all seem new. Steven Soderbergh Movies Ranked. In almost every measure, Steven Soderbergh is an economical artist. Even the most problematic of them offer learnable lessons about the business of making movies, putting him in a rarified class of American filmmakers: ones who make movies that are consistently both imminently entertaining and unexpectedly audacious. There are also hints of another famous tale of persecution: Dreyer’s The Passion of Joan of Arc. An early shot of a group of aristocrats stuffing their faces in the moments before a bomb decimates them is nearly identical to the tilted, furious close-ups in Citizen Kane, Chimes at Midnight, and Welles’ own audacious adaptation of The Trial. He’s made some fantastic movies, and he’s never made anything dull, but he’s also always so concerned with reinvention and experimentation that he’s never made the sort of go-for-broke, career-defining work you’d expect from such an ambitious filmmaker. A game ensemble, including Channing Tatum, Jude Law, and Catherine Zeta-Jones, is clearly up for anything Soderbergh dishes out. At the time, this Depression-era coming-of-age tale, based on A. E. Hotchner’s memoir, was greeted with acclaim — but, also, a huge sigh of relief. Steven Soderbergh’s career as a filmmaker began with Sex, Lies and Videotape, a massive breakout that not only launched his career — it changed the industry of independent filmmaking in America.While struggling to find his footing after becoming a household name at the age of twenty-six, Soderbergh never let himself become frozen by his early success or some preconceived notion of … Steven Soderbergh is one of the busiest filmmakers alive and nobody works at the pace he does. Clooney finally wearing the Cary Grant comparisons as comfortably as he fills out that tux. The filmography of Steven Soderbergh catalogues the filmmaking of American director, producer, and screenwriter, Steven Soderbergh.He has directed 28 feature films and eight television programs. Indeed, in Soderbergh’s vision of loss and grief at the edge of the universe, nothing is fully resolved and it becomes hard to tell the difference between the living and the dead. It’s Theater-Festival Season, in a Year When Everything’s Avant-Garde Anyway, Joshua Bassett Releases Video for ‘Lie Lie Lie,’ Further Stirs the, Sarah Lancashire Will Master the Art of Julia Child. A straightforward study of how a killer virus would eradicate the human race, the movie has little of the hysteria or cheesy emotional moments of other disaster films. Steven Soderbergh’s Movies, Ranked - The Ringer Steven Soderbergh’s Movies, Ranked One of our most idiosyncratic, unpredictable, and multifaceted directors is … He’s still one of the most fascinating filmmakers on the planet, and every new movie is an instant must-watch. We will give points to Nicky Katt for being the funniest Hitler since Chaplin, though. Oceans 11 should be number one. The constant talk of luxury brands, in the work of a high-end prostitute, suggests at once a critical, self-deprecating view of Soderbergh’s art and employment, mirroring it in the work of a well-dressed, well-fed call girl, as well as the distasteful amount of wealth and selling of products that goes into filmmaking. Saturday Night Fever (1977) 82% #13. A narrative-free screw-around that’s loosely about Hollywood but is really about Soderbergh pulling the rug out from under himself to make sure he doesn’t become One Of Them, Full Frontal is oftentimes unwatchable; Soderbergh is too busy doodling around to remember to entertain anyone other than himself. That’s clear in the narrative turns of Magic Mike, one of his very best movies, … Soderbergh had just parted ways with Sony over its adaptation of Moneyball, and in the midst of his funk, the dejected director happened to catch MMA fighter Gina Carano on TV. Brad Pitt tapping into the goofball antics of his early career to play a cool guy who’s also a bit of a lovable dope. Extra demerit for including Bruce Willis in a meta role. Justin Hartley and Chrishell Stause’s Divorce Is Finally Final, Cardi B Lands Her First Lead Movie Role in Comedy. But every single one of them is fascinating. They are ones that people are willing to watch at any time. Before he aggressively undulates, gyrates, and throws himself all around the stage of the Xquisite Strip Club, the Mike of Magic Mike flexes his proverbial muscles elsewhere. Film profile for Steven Soderbergh, Director, born 14 January 1963. Andy Garcia at last getting the elegant villain role he’s always deserved. There are flourishes of abstract symbolic imagery that suggest an ode to Godard but there’s something far more rueful about the overall tone of the movie. It may be the only truly nostalgic movie Soderbergh has ever made, and here’s hoping he never falls back again. Perhaps the most fascinating thing about Steven Soderbergh’s nearly 30-year film career is that he’s a genius without a masterpiece. You’ve Broken Selena’s Sacred Heart for the Last Time in New ‘De Una Vez’ Video. ... All Michael Apted Movies Ranked by Tomatometer – The Best TV Shows of 2020 – 100 Best Movies on Disney Plus (January 2021) – 100 Best Movies on Hulu to Watch Right Now (January 2021) – Soderbergh is in pure gritty crime mode with this almost-too-hip-for-any-room thriller about an English father (Terence Stamp) coming to America to track down the people who murdered his daughter. The movie is more style than substance, but heavens, what style. Soderbergh meets Elmore Leonard and the sparks fly. Steven Soderbergh's Filmography Ranked: 16. In comes Danny and the cavalry to right this wrong, sending in Matt Damon’s Linus to seduce Bank’s right-hand woman (Ellen Barkin) while the rest of the gang tempt Bank into a scheme to take away the glory of his new hotel opening. Magic Mike has the intoxicating rush of a Scorsese film as Mike and his cohorts live it up as the kings of Tampa but — like in a Scorsese film — eventually drugs, egos and money ruin everything. (The film was shot in the period’s boxier aspect ratio, and incorporated boom mics and other 1940s-appropriate technology, including intentionally cheesy rear projection.) And yet, the film stands as Soderbergh’s peak as a super-confident, give-‘em-a-show director. To those who accuse Soderbergh of just being a cold-hearted technician, his remake of Solaris stands as a strong rebuke. An undervalued gem of the director’s 90s output that was resuscitated by its release on the Criterion label, King of the Hill now feels like one of Soderbergh’s most simple and satisfying tales to date. Kelvin is haunted by memories of his dead wife, Rheya (Natascha McElhone), but there’s also a sense that she never died or that she has yet to die, leading to frustration, violence, and chaos on his ship. You want proof of Soderbergh’s commercial clout around the time of the Ocean’s sequels? The titular man of reckoning, Wilson (Terence Stamp in fine form), is straight out of prison and on the hunt for Terry Valentine (Peter Fonda), the sleazy record producer who he believes is complicit in his daughter’s death. Eager for That 'Event Horizon' Ultraviolent Director's Cut? Those familiar with the source material or Tarkovsky’s film know where Soderbergh’s reinterpretation is going. The violence on display is some of the most grisly and unsettling that Soderbergh has depicted thus far and his criticisms are no less unflinching, presenting an entirely convincing case study of the ceaseless, incurable trauma that often comes from being “loved” by a man. But once Tobey Maguire’s scheming soldier Tully is murdered, Jake uncovers a plan that involves high-tech weapons and a stormy prostitute (Cate Blanchett) whose husband may or may not be dead. “You tell him I’m fucking coming!” This is where Soderberg’s love for 1960s era neo-noirs like Jack Smight’s Harper and John Boorman’s Point Blank comes out most strongly. Covering the hottest movie and TV topics that fans want. Menu. The main thing Ocean’s Thirteen has over Ocean’s Twelve is the additions to cast. The man doesn’t entirely put away his auteurist idiosyncrasies, but here he allows his formidable skill with suspense, misdirection, and clockwork storytelling to take the lead. After the promise of Sex, Lies, and Videotape — and the subsequent debacle of Kafka — Soderbergh fans were just grateful that their faith hadn’t been misplaced and that he wasn’t a one-hit wonder. Soderbergh’s follow-up to Sex, Lies, and Videotape is, in retrospect, predictably challenging and difficult and doomed from the get-go, probably on purpose. At the heart of everything in Magic Mike is a negotiation of labor. In the aftermath of Kafka, Soderbergh must have realized that the overseers weren’t always going to have his back. Back when it was released in the early 1990s, reactions were primarily indifferent toward this fantastical twist on the life of Franz Kafka (Jeremy Irons) around the time he was writing “The Metemorphosis,” borrowing freely from “The Trial” and “The Castle.” Arriving in the aftermath of sex, lies, and videotape, it must have come off as a stray foul ball but today, Soderbergh’s conflation of texts and fantastical biography is a consistently intriguing prospect. Multi-Pronged narratives that are both thrilling and thematically rich there was a problem signing you up ;. 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