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From the Archive: Ocean’s Thirteen

As I’m getting this in just under the wire for it to still officially be a Saturday post, it should be clear that I’m still highly distracted by a bevy of other responsibilities, compromising my ability to transcribe some old

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Daldry, Eastwood, Moore, Sirk, Soderbergh

Pitch Perfect (Jason Moore, 2012). Much as I can understand how this film turned into a stealth hit–it has the musical liveliness of early Glee combined with the knowing spunk of Bring It On–it’s a fairly clumsy endeavor, with strained

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Spectrum Check

I had a lot of stuff go up at Spectrum Culture this week, so let’s just tick them off: –It’s fairly rare that I write for the book section, but it occurred to me late last fall that I just

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Posted in Books, Film

Well, you burnt my house down, then got mad at my reaction

Much has been made of Steven Soderbergh’s announced intention to retire from film directing–at least for the big screen–now that he’s completed and released Side Effects. There’s a certain wistfulness to all the discussion surrounding the film, and assessments have

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Top Ten Movies of 2012 — Number Eight

I hedged a bit when I first wrote about Magic Mike, noting that the final act had problems. I stand by that, but as time has passed, I find I care less and less about where the movie sags and

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I feel the magic like I never felt before, I imagine that it’s always been there

I don’t have a signed document to this effect or anything, but I do believe I have previously pledged to follow director Steven Soderbergh anywhere. That has brought me some undue misery over the years, but I’ve largely stuck by

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But how can I help it, if they break then they break, when my hands are untied they’re entitled to shake

Steven Soderbergh has made it clear that the movie Haywire exists solely because he saw Gina Carano in one of her mixed martial arts fights on television. I’d like to think he also spent part of that particular evening hitting

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