Directed by Gary Ross
Starring – Sandra Bullock, Cate Blanchett, Anne Hathaway
The Plot – Upon her release from prison, Debbie (Bullock), the estranged sister of legendary conman Danny Ocean, puts together a team of unstoppable crooks to pull of the heist of the century. Their goal is New York City’s annual Met Gala, and a necklace worth in excess of 150 million dollars.
Rated PG-13 for adult language, drug use, and some suggestive content
– This film screams female empowerment. From the lavishly free-flowing gowns in fashion, to the ‘Girls do it better mentality’ that comes from such great lines like “A Man gets noticed, a woman doesn’t”, Ross puts together what feels like a female superhero film amongst newfound friends, and that good time is too infectious to simply ignore.
– Until the final fifteen minutes of the movie, the rules of the heist feel very grounded and telegraphed for audiences to understand. One of my main problems with the original three Ocean’s films is that it takes a great suspension of disbelief for them to be carried out, but Ross and Olivia Milch as screenwriters always keep us shoulder-to-shoulder with those composing the plans.
– Perfect casting. Considering this vastly accomplished cast has attained four Oscars, two Emmys, eight Grammy’s, and six Golden Globes, you couldn’t ask for better. It’s easy to see that these women had a great time on-set, and that endless energy is depicted firmly in the impeccable chemistry of some of Hollywood’s biggest A-listers bouncing off of one another. Bullock and Blanchett’s sisterhood unity is certainly the spark that lights the fuse, but it’s Hathaway’s bubbly satire of a Hollywood actress that keeps the wick burning. Anne easily steals any scene she is in, asking us to whimper for someone so spoiled, along the way.
– Very detailed look inside of posh Gala events. One thing is certainly clear midway through this film, and it’s that Ross spares no expense in the fashions, the decadent art pieces, and the big name cameos that surround the table. Katie Holmes, Kardashians, and even an interesting rival to Hathaway’s Daphne all come into frame, mastering the ideal of how big this event truly is.
– There aren’t many things that this film outright steals from the original movies, but one touch I’m glad about is the split transition scenes that add a style of flare and finesse to the production. Besides the usual three-cut pictures in focus that can move up or down out of frame, the ending also visually narrates with cyclone-like zoom angles what happened with each character after the heist concluded.
– Thankfully, this doesn’t feel the need to focus on an inevitable sequel, aiming instead to make this film the best it can be. The ending doesn’t exactly leave the door open for future installments, and if this is a one-off experiment, there’s enough focus and style under its roof for that to be enough.
– This is a breezy 102 minutes of film, even to the point of damaging some of the pacing of the story’s finer points. Particularly, the establishment of the team, as well as the heist itself constantly feels like it is on fast-forward. This in turn leaves the film without the kind of edginess needed to accentuate the tension.
– Going into the film, I had an idea of a twist that would happen with the ending, thanks to the less-than-stellar work of a pitiful trailer that gave away a certain spoiler-filled image. Sure enough, this idea came to fruition during the final fifteen minutes of the movie, and I hated every bit of it. Once you start to think about it, this heist should be a lot easier because of this late act development, but if it were it would compromise the film even more than its final minutes that don’t know when to end.
– In addition to that twist, I also didn’t like how this story of female empowerment and rogue rebellion eventually falls by the wayside of becoming a game of revenge because of some heart-breaking guy. Films with a female led cast tend to do this a lot, either because they don’t feel confident in their material, or because this is sadly the way Hollywood views women’s measures of importance. Either way, I would’ve left this subplot on the cutting room floor, keeping the focus where it belongs; on Bullock and company establishing women do it better.
– The relationship between Ocean family feels fresh out of a television sequel series that rarely talks or mentions it. When it does, it’s limited on exposition and never fleshes out the relationship between Danny and Debbie. This could’ve been a valuable cerebral angle that the film could’ve taken in exposing Debbie’s lost time with her brother, but instead it’s glossed over like cheap mascara.