Ocean's Eleven (2001)

Soderbergh opts for fun over substance with this slick, cool heist remake; it's packed with charisma, great direction, and entertainment value, though not his most substantial work.

The critic praises Soderbergh's remake as a slick, entertaining heist film with a stellar cast and effortless cool, highlighting the stylish direction and charismatic performances, especially Brad Pitt's.

A thoroughly enjoyable caper in which Clooney and his A-list pals have fun pulling off an audacious Vegas heist; the stellar cast's sharp, quick-fire dialogue and interplay take centre stage over the heist mechanics.

The critic finds the remake ridiculously enjoyable and a marked improvement on the original Rat Pack film. Soderbergh's direction brings off the action and tongue-in-cheek comedy effectively, with the heist mechanics singled out as particularly watchable.

Soderbergh's hi-tech robbery procedural is wholly enjoyable entertainment performed and directed with deceptive ease, freshness, wit, pace and a light touch of irony that relishes the clichés.

The critic finds the remake great fun for about an hour but ultimately shallow fluff with no real climax or payoff. He praises the energetic, intricate craftsmanship but complains that it is Soderbergh's least adventuresome work.

The critic calls the film a lively, effervescent caper that is its own stylish creation with hipster bemusement. He singles out the clever script, amusing characters, and Soderbergh's success in delivering intelligent popular entertainment.

Soderbergh's update of the 1960 heist film is only semi-successful and sporadically entertaining, showing signs of strain despite the glossy star vehicle format and strong cast including Clooney, Pitt and Roberts.

Ocean’s Eleven counts as a breath of fresh air after other recent heist films, so suave it operates on autopilot. Soderbergh directs the heist with workmanlike precision, underplays the double-crossing and return-to-love elements, and makes even a perfunctory Rat Pack crime caper go down like fine wine.

The film is a mostly successful stylistic shift into sheer artifice for Soderbergh, with the force of the star personalities compelling interest. It is an exercise in Hollywood glamour enlivened by the sense that the actors are having a ball, a technical marvel with elegant camerawork and a cool jazzy score.

The critic praises Soderbergh's stylish, energetic remake as an elating display of flair and pride. He singles out the director's technique and the star power of the ensemble cast for making the heist picture work.

The critic describes the remake as a breezy, nonchalant lark that is all about surfaces, behavior, and grace notes rather than suspense. He praises the spontaneous cast, especially the older pros Reiner and Gould, and Soderbergh's attractive visual style.

The critic views it as a perfectly calibrated Hollywood heist machine that's high-gloss entertainment pitched at adults, slick yet stylish. He praises its craftsmanship and connection to Soderbergh's later work but notes it lacks emotional resonance compared to Out of Sight.