Ocean's Thirteen (2007)

The film recaptures the breezy cool of the first entry by returning to Vegas, with stylish direction, strong production values, and an ideal Pacino as the nemesis. It delivers ultra-cool cons and keeps the series' fizz alive without missing a beat.

The critic finds Ocean’s Thirteen a welcome return to form after the more experimental Twelve, with a breezy and entertaining second half full of clever twists and strong ensemble moments. They single out the glossy style, technical camerawork and Clooney’s charismatic lead performance for particular praise.

The third installment is lighter than air and a well-oiled machine, with Soderbergh working at his best in this Vegas romp. The critic praises the glamorous style, fast-moving screenplay, and the way the film pushes conventional narrative while delivering pure entertainment.

The critic finds that the film recaptures much of the spirit of the original Ocean's Eleven despite lacking its freshness, crediting the clever script centered on friendship and revenge while noting some subplots misfire and Pacino's role is wafer-thin.

The critic finds it a breezy but familiar third entry that improves thematically on predecessors by focusing on aging criminals, though it feels like a remake of the first film.

Better than the unfocused 'Ocean's Twelve' but a pale copy of the original 'Ocean's Eleven,' lacking its brio and inspiration. The critic finds the self-mythologizing smugness and repetitive character tics tiresome, though it remains serviceable as a straight-ahead heist.

Fails to recapture the original's insouciance and fun; the cast seems disengaged overall, with only Ellen Barkin shining in a comic role.

The film is a slick but routine caper that dispenses with clear exposition in favor of star-driven antics and preposterous schemes. Ebert grows impatient with the pacing and lack of character development, finding the material thin despite the talented cast and director.

The critic dismisses the film as an insensitive, navel-gazing exercise in celebrity culture with disconnected vignettes and a declining visual style from Soderbergh, singling out the offensive factory strike subplot and incoherent color choices for complaint.

The critic finds the film a fantastically smug and empty threequel with a nasty dab of misogyny, enclosed in an airless world of self-congratulatory style that is only marginally better than its predecessor. He singles out the pointless, plotless sequences and the humiliating treatment of the sole female character for particular complaint.

The critic finds Ocean's Thirteen the strongest entry in the trilogy, a stylish and breezy heist film focused on the cons rather than celebrity self-congratulation. They praise the intricate plotting, smooth ensemble interplay, and Soderbergh's polished direction while noting the leads' effortless cool.

The critic calls it a breezy summer caper with classic Hollywood Las Vegas style, complex heists, and relaxed fun performances. It is old-fashioned and aimed at family audiences but ultimately too familiar to be worth seeking out.