Let Them All Talk (2020)

Soderbergh's loose, arty yet entertaining approach produces a satisfying bite of ego comedy and wise melancholy on the high seas. The result is refined, naturalistic, specific, enigmatic and funny.

The improvisational gamble mostly pays off in a playful, relaxed hangout film set on the Queen Mary 2, buoyed by strong ensemble work. The critic singles out Bergen’s fun, against-type performance as a highlight amid the random-feeling storylines.

The film follows a distinguished novelist traveling by ship to accept a literary prize, accompanied by old friends and a secret agent. Lane highlights the premise and cast in this release review.

The critic finds the film clever and absorbing but ultimately a little unfinished and overly improvisational. They single out the glimpse it offers of life aboard a luxury ocean liner for particular interest.

Shot in just seven days aboard the Queen Mary 2, Soderbergh’s latest feels rushed and messy despite the star power and improvisational approach. The critic notes it needed more time to develop its drama and characters.

The critic finds the comedy-drama colorless and lacking in energy, with the story snoozing through its punchline despite a strong cast. Stilted conversations fail to captivate, and the characters lack chemistry under Soderbergh's mannered direction.

The film is not wholly successful but offers a rewarding look at a filmmaker tackling a melancholy character study of ageing and friendship. It benefits from strong interplay among the three lead actresses and Soderbergh’s free-and-easy exploration of regrets.

The critic finds the film garrulous and elegant with strong performances and a theatrical screenplay, but loosely plotted and unfocused in its emotional centre. Soderbergh's ocean-liner setting and Streep's haughty performance are singled out amid the charm and dramatic finale.

Soderbergh matches Eisenberg’s screenplay in an ensemble piece enlivened by improvisation that recalls vintage Altman, delivering wry observations on relationships and writing. The critic singles out the ace cast—especially Bergen in divinely flinty form—and the technical jewel of shooting aboard the Queen Mary 2.

Soderbergh’s cruise-ship hangout picture is a warm, enjoyable trifle with a personal edge about art and life. The critic praises the candid, eavesdropper-like conversations among the cast and the director’s facility with humor.

The critic calls it one of the bright lights of 2020’s movie year and highly sophisticated elegant filmmaking. They single out the sparkling improvised dialogue and the three stars’ performances, especially Bergen stealing the show.

The critic praises the film as a witty exploration of relationships and the responsibility artists have to their muses, calling it “Wild Strawberries” for women of a certain age. They highlight the strong ensemble performances and the clever cruise-ship setting as an instant addition to great cruise ship movies.

The critic calls it a return to form for Soderbergh, a jazzy freewheeling hangout movie enriched by an adroit ensemble cast. Shortcomings in the script include underdeveloped subplots and romance, but the third-act reveal stands out and the film ultimately finds a worthwhile story between friends.

The critic finds the film an interesting but frustrating anti-drama that deliberately avoids direct conflict and confrontation, resulting in a lack of momentum. It singles out the strong ensemble cast and luxurious cruise ship setting for some praise while noting the film does not deliver expected payoffs.

The critic describes the results as inviting yet meandering like a structureless cruise, calling the film a bit too lackadaisical to rank among Soderbergh’s finer works but better than some of his 2019 output. It singles out the surprise twist ending for bringing focus and a testament to human frailties after mostly vibing with friends on a boat.