--- title: "Ocean's Eight" year: 2018 kind: "film" canonical: "https://film.one/film/oceans-eight" fi1m_score: 60 critics_score: 57 critics_reviews: 24 published: "2026-09-19T15:45:37.925623+00:00" updated: "2026-09-19T15:45:54.050098+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Ocean's Eight (2018) Directed by Gary Ross · 1h 51m · MPA PG-13 · Crime, Comedy, Action **Fi1m score: 60** · Critics 57 from 24 reviews *In a sentence:* Eight women rob the Met Gala in couture and nobody, the film included, looks the least bit worried > Gary Ross’s all-female spin on the Ocean’s films is glossy, good-natured and almost entirely without danger. The cast is a pleasure, Anne Hathaway especially, and the heist itself is neatly built; it is what surrounds it that has been left slack. ## Synopsis New York, now. Debbie Ocean (Sandra Bullock), Danny’s sister, walks out of prison with a plan: to lift a diamond necklace from the neck of the film star Daphne Kluger (Anne Hathaway) at the Met Gala. She finds her old partner Lou (Cate Blanchett) watering down vodka in a nightclub and together they assemble a crew: Amita (Mindy Kaling), a jeweller; Tammy (Sarah Paulson), a suburban mother fencing stolen goods from her garage; Constance (Awkwafina), a pickpocket; Nine Ball (Rihanna), a hacker; and Rose Weil (Helena Bonham Carter), a fashion designer deep in debt, whose job is to get Daphne into the right dress and the right necklace. In the background is Claude Becker (Richard Armitage), the art dealer who put Debbie away. ## Review Gary Ross has taken the Ocean’s films, the three Steven Soderbergh directed between 2001 and 2007, and handed them to eight women. Debbie Ocean (Sandra Bullock), Danny’s sister, walks out of prison with a plan to lift a diamond necklace from a film star’s neck at the Met Gala, and what follows keeps the shape you expect: the recruiting, the rehearsal, the night itself, the loose ends. Ross, who wrote it with Olivia Milch, is not trying to do anything to the formula except change who is standing in it. That is a fair ambition, and the film meets it. It meets little else. Anne Hathaway is the reason to watch. Daphne Kluger is a star who needs to be looked at the way the rest of us need to breathe, and Hathaway plays her as a spoilt child with the manners of an empress, tilting her chin for cameras that are not there and losing interest in anyone the moment they stop flattering her. We laughed out loud, more than once, at nothing more than the way she receives a compliment, as if it were owed and slightly late. It is the one performance in the film with an edge to it, and Hathaway knows exactly how hard to press. Bullock plays Debbie low and dry, a woman who has done her time and wants the world to notice how patient she has been. Her first afternoon out, talking her way into a department store’s cosmetics and a hotel suite on nerve alone, is the best stretch of pure con in the film. Cate Blanchett’s Lou wears trouser suits and looks amused, and the two have the shorthand of people who have argued about the same things for years. Sarah Paulson is funny as Tammy, a suburban mother with a garage full of stolen goods, and Helena Bonham Carter is winningly frantic as Rose Weil, a designer one bad season from ruin. Awkwafina, Mindy Kaling and Rihanna have less to do and do it pleasantly. Eigil Bryld shoots New York in clean, bright, expensive light, with none of the amber grime Soderbergh favoured; every surface looks recently polished, which suits a film in which nobody sweats. Sarah Edwards’s costumes do a good deal of the character work, Lou in silk and leather, Debbie in tailored black, Tammy in cardigans, and then the gala floor, where the frocks are the point and are allowed to be. Alex DiGerlando’s interiors are handsome and a little anonymous. Daniel Pemberton supplies a brassy, walking-bass score that keeps promising a swagger the direction never delivers. Juliette Welfling cuts the planning as brisk montage and the heist itself with real clarity, so we always know which woman is where and what the next problem is. The trouble is that nothing pushes back. A heist needs somebody on the other side of it, and this one offers a security system, some guards and, late on, James Corden as an insurance investigator who is more amused than alarmed. Richard Armitage’s Claude Becker, the art dealer who put Debbie away, is set up as her reason for all of this and then barely used. Because every step of the plan works, the middle of the film is pleasant in the way a well-run dinner is pleasant, and about as tense. The last half hour adds business we will not describe. It does not raise the temperature. Somewhere past the hour we noticed we had stopped minding whether they got away with it, because nobody on screen seemed to mind either. We were not bored. We were unbothered, and a heist film that leaves you unbothered has lost the one thing it cannot do without. Soderbergh’s *Ocean’s Eleven* (2001) had the same low stakes and got away with them because it moved: quick cuts, hot colours, a cast plainly enjoying one another. Ross, whose *Pleasantville* (1998) and *Seabiscuit* (2003) were careful, warm and unhurried, directs this the same way, and a caper cannot afford to be careful. The women are having a good time. The camera stands at a respectful distance and watches them have it. It runs 111 minutes and carries a 12A, and it will do for an evening when you want good company and nothing to worry about. Watch it for Hathaway, for the frocks, and for the twenty minutes on the gala floor, which is the only stretch where the film moves as fast as the women in it. *Fi1m score 60, published 19 September 2026.* ## What the critics say Most critics agree on the cast and little else. The reviews describe a pleasant, breezy heist that gets by on star power, and even the coldest notices concede the ensemble is easy company. Anne Hathaway is the name that recurs: several critics call her self-parodying film star the best thing on screen. Where the film is enjoyed, it is enjoyed as light escapism that sticks to the formula and does not pretend otherwise. The split is wide, with nearly as many negative reviews as positive ones. The reservations cluster on Gary Ross’s direction, which many find flat next to Steven Soderbergh’s originals, and on a heist with no jeopardy and a third act that does not pay off. The British press is the harshest: The Guardian says it runs out of steam early, The Times finds no jokes in it, and Sight and Sound calls it closer to a luxury-brand advertisement than a caper. ### Reviews we read (24) - **RogerEbert.com**, Christy Lemire (3.5/4): The critic praises the film as a giddy, fizzy heist with a formidable female cast that makes a pointed statement about women sticking together. She singles out Anne Hathaway's inspired, controlled lunacy as the MVP performance while noting some supporting roles could have been better fleshed out. [Read](https://www.rogerebert.com/reviews/oceans-8-2018) - **Time Out**, Tomris Laffly (75/100, inferred): The critic praises the radiant cast, NYC groove and glossy entertainment value, noting it sticks to the formula but delivers satisfying jokes and a fun, mischievous spirit. [Read](https://www.timeout.com/movies/oceans-8) - **Empire**, Ian Freer (70/100, inferred): The critic finds it a breezy, enjoyable heist film that sticks closely to the formula without raising stakes or innovating much. Praise is given to the strong cast chemistry and star power that make it a fun, likeable romp. [Read](https://www.empireonline.com/movies/reviews/ocean-8-review/) - **Los Angeles Times**, Justin Chang (70/100, inferred): The critic calls it an enjoyably slippery, lightweight heist that functions as a corrective on representation of women on screen. He singles out the determination to prove something as both its strength and limitation, praising the nifty surprises but noting it doesn't dazzle or linger. [Read](https://www.latimes.com/entertainment/movies/la-et-mn-oceans-8-review-20180605-story.html) - **Variety**, Owen Gleiberman (70/100, inferred): The critic finds it a casually winning heist movie that renders the gender-flip concept a borderline irrelevance and treats its female cast as a natural spin on the brand. He singles out Sandra Bullock's debauched insolence and the sly jokes around feminine wiles in the heist logistics for praise. [Read](https://variety.com/2018/film/reviews/oceans-8-review-sandra-bullock-1202830271/) - **Vulture**, Emily Yoshida (70/100, inferred): The critic notes that Ocean’s 8 has plenty of charms but singles out Anne Hathaway’s meta, self-parodying performance as the movie star Daphne Kluger as the standout element that lights up the screen. She highlights Hathaway’s comedic timing and reclamation of feminine performance tropes. [Read](https://www.vulture.com/2018/06/anne-hathaway-is-the-best-part-of-oceans-8.html) - **Radio Times**, Emma Simmonds (★★★): The critic highlights the inspired, divine casting and genuine camaraderie as the film's strengths, calling the overall effect entertainingly empowered despite some script and direction shortcomings. [Read](https://www.radiotimes.com/movies/oceans-8-film-review-entertainingly-empowered/) - **The Telegraph** (3/5): The film assembles a strong all-female cast but forgets to deliver a satisfying heist plot or finale. The critic praises the performances, costumes, and music while complaining about the weak third act and lack of payoff. [Read](https://www.telegraph.co.uk/films/0/oceans-8-review-heist-caper-assembles-best-gang-imaginable-forgets/) - **Slant Magazine**, Derek Smith (50/100, inferred): The critic calls it a mildly engaging riff on the heist film that rarely strays from the formula but praises the clever, suspenseful centerpiece heist sequence and the sly gender reversal. He complains that thin characters and a belabored finale make it feel clunky after the high point. [Read](https://www.slantmagazine.com/film/oceans-8/) - **Little White Lies**, David Jenkins (4/2/1): The critic calls it a crushing, zero-stakes heist caper that wastes its powerhouse cast with poor direction and writing, leaving only superficial mannequins. [Read](https://lwlies.com/reviews/oceans-8) - **Screen Daily** (40/100, inferred): The critic deems it a surprisingly flat gender-swap of a tired formula, with a promising cast mostly wasted in subdued, unremarkable roles and scenarios. [Read](https://www.screendaily.com/reviews/oceans-8-review/5129832.article) - **The New Yorker**, Richard Brody (40/100, inferred): The critic finds the film isn't up to the talents of its stars, noting a central emptiness in the dramatic framework despite flashes of substance from the performers. He singles out the built-in problems of the heist genre in the digital age as a key complaint. [Read](https://www.newyorker.com/culture/richard-brody/oceans-8-isnt-up-to-the-talents-of-its-female-stars) - **The Times**, Tom Shone and Edward Porter (★★): Gary Ross's direction lacks the snap and pop of Steven Soderbergh's originals. The critic singles out Anne Hathaway's charming performance for praise while complaining that the film has no fun or jokes. [Read](https://www.thetimes.com/culture/article/film-review-ocean-s-8-the-happy-prince-oscar-wilde-studio-54-the-ciambra-02h9kpf88) - **Evening Standard**, Matthew Norman (30/100, inferred): The critic argues the splendid all-star lineup deserves better than this mechanical effort that lacks jeopardy and tension despite some sparkle and escapism. The glib execution exposes it as underwhelming heist-flick zirconium. [Read](https://www.standard.co.uk/culture/film/oceans-8-review-a-splendid-all-star-line-up-deserves-better-than-this-a3869371.html) - **Sight and Sound**, Violet Lucca (30/100, inferred): The critic finds the all-female heist caper disappointingly orthodox and formulaic, more like a glossy advertisement for luxury brands than a fun, empowering lark. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/oceans-eight-review-girls-just-wanna-have-bling) - **The Guardian**, Peter Bradshaw (30/100, inferred): The all-female spin-off on the Ocean's franchise quickly runs out of steam after a promising start. The critic singles out the lack of dramatic interest and tension in the heist plot for complaint, while noting some enjoyable moments from the cast and cameos. [Read](https://www.theguardian.com/film/2018/jun/13/oceans-8-review-sandra-bullock-cate-blanchett-anne-hathaway) - **The Hollywood Reporter**, David Rooney (30/100, inferred): The critic finds the film a self-satisfied exercise only occasionally as fun as it thinks it is. He praises the starry all-female cast, glamour, and timing but notes the lack of freshness, punch, and adventurous spirit under Gary Ross's direction. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/oceans-8-review-1116476/) - **Collider**, Matt Goldberg (B+): The critic finds it a breezy, rewatchable heist film that delivers everything fans want from the series, with glamorous stars having fun committing a victimless crime. He singles out the strong ensemble cast—particularly Anne Hathaway lampooning celebrity and Sarah Paulson as a scene-stealing mom—for praise while noting Gary Ross keeps the pacing solid without Soderbergh's stylistic flair. [Read](https://collider.com/oceans-8-review/) - **Deadline**, Pete Hammond (80/100, inferred): The critic praises the stylish female-led heist as fun summer escapist fare with clever twists and strong ensemble performances. Bullock and Blanchett lead effectively while Ross handles the franchise transition well. [Read](https://deadline.com/2018/06/oceans-8-review-sandra-bullock-cate-blanchett-mindy-kaling-female-heist-franchise-1202404964/) - **Den of Geek**, Rosie Fletcher (4 out of 5): The critic praises the joyful, fast-paced heist celebrating talented women with strong cast chemistry and a positive female portrayal. Some plot holes in the third act are noted but it remains a fun, escapist delight. [Read](https://www.denofgeek.com/movies/oceans-8-review/) - **NME**, Rhian Daly (4/5): A triumph with laugh-out-loud moments and standout performances from supporting cast members, though some reductive elements and distracting cameos are flagged. It feels like a success worth continuing the franchise. [Read](https://www.nme.com/reviews/oceans-8-film-review-2333395) - **Digital Spy**, Hugh Armitage (65/100, inferred): The film delivers charm and glamour with a fabulous cast and witty script, but lacks peril and could have shone brighter overall. It is fun but not fantastic. [Read](https://www.digitalspy.com/movies/a859482/oceans-8-review-spoiler-free-cate-blanchett-sandra-bullock/) - **/Film**, Josh Spiegel (6/10): The critic calls it a light, fluffy, and altogether pleasant heist flick that gets many elements of the subgenre right but stumbles in setting up an antagonist. The feminine ensemble's unforced chemistry is singled out for praise. [Read](https://www.slashfilm.com/558732/oceans-8-review/) - **The Wrap** (60/100, inferred): The film is amiably slick and charming with a talented cast but feels like a wasted opportunity that never fully delivers on its potential. The ensemble carves out some deft comedic moments, especially Hathaway, while the heist mechanics are handled competently. [Read](https://www.thewrap.com/oceans-8-film-review-sandra-bullock-cate-blanchett-rihanna/) ## Details - **Director:** Gary Ross - **Director:** Gary Ross - **Screenplay:** Olivia Milch, Gary Ross - **Story:** Gary Ross - **Cinematography:** Eigil Bryld - **Editor:** Juliette Welfling - **Music:** Daniel Pemberton - **Production design:** Alex DiGerlando - **Costume design:** Sarah Edwards - **Producer:** George Clooney, Steven Soderbergh, Susan Ekins - **Cast:** Sandra Bullock as Debbie Ocean; Cate Blanchett as Lou; Anne Hathaway as Daphne Kluger; Mindy Kaling as Amita; Sarah Paulson as Tammy; Awkwafina as Constance; Rihanna as Nine Ball; Helena Bonham Carter as Rose Weil - **Runtime:** 1h 51m - **Certificate (MPA):** PG-13 - **Release (the US):** 8 June 2018 - **Genres:** Crime, Comedy, Action - **Budget:** $70 million - **Box office:** $298 million - **Trailer:** https://www.youtube.com/watch?v=n5LoVcVsiSQ ## Where to watch in the US - HBO Max: streaming, uhd - Amazon Prime Video: add-on, uhd - The Roku Channel: add-on, hd - Hulu: add-on, hd - Amazon Prime Video: rent $3.99, uhd - Apple TV: rent $4.99, hd - Amazon Prime Video: buy $4.99, uhd - Apple TV: buy $7.99, hd *Checked 2026-09-19.* Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IL, IN, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country. ## If you liked this - *Ocean's Eleven* (2001), Fi1m 80: Soderbergh’s original, faster and warmer, with the swagger this one keeps reaching for — [Fi1m page](https://film.one/film/oceans-eleven.md) - *Rififi* (1955): Dassin’s Paris jewel robbery, half an hour of it in near silence - *Widows* (2018), Fi1m 83: Steve McQueen’s Chicago heist, in which the women have every reason to be frightened — [Fi1m page](https://film.one/film/widows.md) - *Set It Off* (1996): Four Los Angeles friends rob banks because the alternative is worse; Queen Latifah is superb - *The Thomas Crown Affair* (1968): McQueen and Dunaway play chess and rob a bank; pure glamour, properly dangerous --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/oceans-eight