Ocean's Eleven movie overview

In 2001, indie mastermind Stephen Soderbergh was at the top of his game. He had quickly risen through the Hollywood ranks with intelligent films that challenged audiences, impressed critics, and garnered the respect of his industry peers. Even a pulpy heist flick like ‘Ocean’s 11’ stood out from the crowd, receiving rave reviews and grossing more than $450 million worldwide. For once, I don't plan to argue with that consensus. There’s nothing like watching a bunch of sure-handed, quick-witted anti-heroes develop and execute an unimaginably elaborate heist.

’Ocean’s Eleven’ introduces us to Danny Ocean (George Clooney), a criminal mastermind whose unshakably cool demeanor masks a staggering intellect. Danny has emerged from a stint in prison, obsessed with robbing three of Vegas’ top casinos at once. His target? Casino owner Terry Benedict (Andy Garcia), a ruthless businessman who stores the daily profits of all his casinos in a single, impenetrable vault. Danny assembles the best thieves in the business -- a close friend (Brad Pitt), a young upstart (Matt Damon), an old hand (Carl Reiner), a British demolitions expert (Don Cheadle), a loud-mouthed conman (Bernie Mac), and two bickering foot-soldiers (Scott Caan and Casey Affleck), among others. He even takes some time to reconnect with his ex-wife (Julia Roberts) in the midst of his heist plans.

Soderbergh’s first ‘Ocean’ film is easily the strongest of the trilogy -- it also happens to be one of my favorite films of all time. Ted Griffin’s light-footed screenplay is rife with stylish dialogue that the cast delivers with sharp tongues and cool wit. Better still, the interplay between Clooney and Pitt instantly imbues the pair with a classic sense of loyalty and friendship. The plot doesn’t even have to take time to fill in the origins of the supporting characters, because the lead performances make such minor backstories irrelevant. The tone of the ensemble's interactions suggests a long-running relationship between most of the thieves, allowing the imagination to simmer with thoughts of other jobs the crew have worked on in the past.

The script is supported by Soderbergh’s breezy direction, perfect pacing, and effortless editing. The director is a confident storyteller and there isn’t a single scene that doesn’t serve a purpose. His first act establishes everything a viewer needs to know, while introducing a pile of characters at breakneck speed -- it’s a testament to Soderbergh’s talent that each player receives plenty of attention without losing anyone in the shuffle. The second act loads everyone onto a rollercoaster as the bunch plan their heist. It’s an intricate setup, but Soderbergh keeps the robbery clear and concise (while still concealing every trick and turn from his audience). Everything collides in a thrilling final act that balances sleight of hand with humor to deliver a truly satisfying end to the tale. The climactic heist is epic and entertaining -- a stunning finale that’s as mesmerizing now as it was the first time I saw it.

How good is ‘Ocean’s Eleven?’ It sets the bar so high that its two sequels have a difficult time living up to its standards. Its tone and style may not be for everyone (as evidenced by a small but disgruntled crowd that doesn’t understand what all the fuss is about), but it’s the sort of flick I can throw in again and again. I adore the engaging screenplay, the clever performances, and Soderbergh’s whimsical take on the heist film. In the end, ‘Ocean’s Eleven’ is a true genre classic that everyone should see at least once.