---
title: "Ocean's Eleven"
year: 2001
kind: "film"
canonical: "https://film.one/film/oceans-eleven"
fi1m_id: "oceans-eleven"
imdb_id: "tt0240772"
tmdb_id: 161
wikidata_id: "Q205447"
fi1m_score: 80
critics_score: 76
critics_reviews: 7
published: "2026-09-09"
updated: "2026-09-18T08:37:48.316432+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 Eleven (2001)

Directed by Steven Soderbergh · 1h 56m · MPA PG-13 · Thriller, Crime

## Identity

Ocean's Eleven

- **Canonical:** https://film.one/film/oceans-eleven
- **Type:** Film
- **Fi1m ID:** oceans-eleven
- **IMDb ID:** tt0240772
- **TMDB ID:** 161
- **Wikidata ID:** Q205447
- **Same entity:** https://www.imdb.com/title/tt0240772/, https://www.themoviedb.org/movie/161, https://www.wikidata.org/wiki/Q205447

**Fi1m score: 80** · Critics 76 from 7 reviews

*In a sentence:* A heist in which nobody sweats, nobody bleeds and Brad Pitt never once stops eating

> Soderbergh’s remake is the most purely pleasurable thing he has made: a robbery staged as a dance, with Clooney and Pitt leading. There is nothing underneath it and Julia Roberts is wasted. We did not mind nearly as much as we expected to.

## Synopsis

Danny Ocean (George Clooney) walks out of prison and goes straight to his old partner Rusty Ryan (Brad Pitt) to talk him into one more job. The target is the vault beneath three Las Vegas casinos, owned by Terry Benedict (Andy Garcia), who does not lose money. They need a crew: a pickpocket (Matt Damon), an explosives man (Don Cheadle), two brothers (Casey Affleck and Scott Caan), an acrobat (Shaobo Qin), a card dealer (Bernie Mac), a surveillance man (Eddie Jemison) and a former casino owner with a grudge (Elliott Gould) to pay for it. Benedict is also seeing Tess (Julia Roberts), who used to be Danny’s wife. Rusty would like that to be a coincidence.

## Review

The 1960 *Ocean’s 11* was Frank Sinatra and his friends larking about in Las Vegas between shows, and nobody has ever accused it of being a good film. Steven Soderbergh’s version keeps the town, the name and the idea of a crew, and throws out everything else. Danny Ocean (George Clooney) comes out of prison with a plan to rob the vault under Terry Benedict’s three casinos on the night of a big fight, and spends the first act collecting the ten people he needs to do it. The film is 116 minutes long, moves like it is late for something, and has no interest in anything but the pleasure of watching clever people be clever. On those terms it is very good indeed.

Clooney and Brad Pitt carry the first half hour almost on their own, and they do it by not trying. Danny talks; Rusty listens, eats, and finishes the sentence. Pitt has a snack in nearly every scene he is in, and it tells you more about Rusty than a page of dialogue could: this is a man who is never worried. Clooney gives Danny the opposite quality, a stillness that is always about to become a grin. We enjoyed their recruitment tour more than we have enjoyed most whole films, because Ted Griffin’s script lets each new arrival be a small comedy of its own and then gets out.

Soderbergh shot it himself, and the camera is loose and warm, close on faces and happy to stay there. Stephen Mirrione cuts fast but never confusingly; when the plan is being explained and the film is running three or four scenes at once, you always know which one you are in. David Holmes’s score is the film’s engine, a slouching thing of organ, bass and brushed drums that makes every walk across a lobby feel like the walk before a fight. Philip Messina’s production design gives Benedict a vault that looks like a bank crossed with a cathedral, and it is a pleasure simply to look at the doors.

The ensemble earns its billing. Andy Garcia is the best idea in the film: a villain who is not stupid, not greedy and not vain, just very good at his job and very cold about it, so that every time the crew gets away with something you half expect him to have noticed. Don Cheadle’s Basher made us laugh every time he opened his mouth, and we felt slightly guilty for laughing. Elliott Gould, in silk pyjamas and enormous glasses, steals his two or three scenes as Reuben, the money. Matt Damon plays Linus as the boy who wants to be at the grown-ups’ table and Casey Affleck and Scott Caan, as the Malloy brothers, argue about everything and are never not funny.

What does not work is anything that asks us to feel. Julia Roberts is billed fifth and has perhaps ten minutes of screen time, most of it spent walking down staircases in beautiful clothes while men look at her. Tess is meant to be the reason Danny is doing this at all, and the film never makes that believable, because Clooney is plainly having far too good a time to be heartbroken. One or two critics have complained that the whole thing is fluff with no payoff, and they are not wrong about the fluff. We found we simply did not care. We sat with a grin on our face for most of two hours, felt nothing much when it ended, and were surprised how little that bothered us.

Set against Soderbergh’s own work it is a step sideways rather than forward. [*Out of Sight*](https://film.one/film/out-of-sight), three years earlier, was a crime picture with a real ache in it; this has traded the ache for polish. That is a fair trade for a film that knows exactly what it is, and this one does.

Watch it with company and something to drink, late enough that the lights are low, and do not ask afterwards what any of it meant. It did not mean anything. It was very well made and it was fun, and the two are rarer together than they should be.

*Fi1m score 80, published 9 September 2026.*

## What the critics say

Most critics take this as Soderbergh setting out to have fun and succeeding. The praise clusters on two things: the direction, described again and again as slick, effortless and light on its feet, and the cast, whose quick-fire interplay several reviewers rate above the heist mechanics themselves. Pitt is singled out more than once; Variety gives particular credit to the older pros, Reiner and Gould. The jazzy score and the camerawork get approving mentions, and The Guardian rates it a marked improvement on the 1960 original. The spread is narrow, with the reviews settling in the upper range.

Reservations are about weight rather than execution: several call it surfaces and grace notes, fun without much underneath. The one clear dissent comes from The New Yorker, which finds it great fun for an hour and then shallow, with no real climax, and calls it Soderbergh’s least adventurous work. Screen Daily is cooler too, finding it only sporadically entertaining.

## Straight answers

**Is Ocean's Eleven worth watching?**

*Ocean's Eleven* is worth watching for anyone who wants two hours of clever people being clever and does not need it to mean anything, and we scored it 80. Clooney and Pitt carry it by barely trying, the crew is funny throughout and David Holmes's score keeps it moving. Julia Roberts is wasted and the romance never convinces.

**How long is Ocean's Eleven, and what is it rated?**

*Ocean's Eleven* runs 1h 56m and is rated PG-13 by the MPA in the US. It is a thriller and crime film.

**Where can I watch Ocean's Eleven in the US?**

*Ocean's Eleven* is available to rent from Amazon Prime Video from $5.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Ocean's Eleven, and is it suitable for children?**

*Ocean's Eleven* is a UK 12 heist film in which nobody bleeds, and it is not frightening. There is no violence to speak of, the crime is played as a game, and the villain is cold rather than menacing. Older children should be fine with it; the certificate reflects mild language and adult tone rather than anything alarming.

**How does Ocean's Eleven compare to Ocean's Twelve?**

*Ocean's Eleven* is the better film of the two, tighter and with a plan you can actually follow. [*Ocean's Twelve*](https://film.one/film/oceans-twelve) keeps the colour, the cutting and Holmes's score but puts the story in a drawer and is rather pleased with itself. Start with the first; the sequel is good company only if you already like these people.

**Do you need to have seen the other Ocean's films before Ocean's Eleven?**

*Ocean's Eleven* is the first of Soderbergh's three films and stands entirely alone, so you need to have seen nothing before it. It introduces Danny, Rusty and the whole crew from scratch in its first act. The 1960 Sinatra film shares only the name and the town, and there is no reason to watch it first.

**What should I watch after Ocean's Eleven?**

After *Ocean's Eleven*, try [*The Sting*](https://film.one/film/the-sting) (1973, Fi1m 85): Newman and Redford run a long con with the same easy charm. Then [*Out of Sight*](https://film.one/film/out-of-sight) (1998, Fi1m 86): Soderbergh and Clooney a few years earlier, funnier and with a heart; and [*Logan Lucky*](https://film.one/film/logan-lucky) (2017, Fi1m 76): Soderbergh robs a racetrack with rednecks instead of film stars; just as nimble.

**What order should I watch the Ocean's films in?**

Release order is the safe choice for Ocean's, and it is the order [our collection page](https://film.one/collections/oceans) lists them in. *Ocean's Eleven* is the first of the 3 Ocean's titles on Fi1m; after it [*Ocean's Twelve*](https://film.one/film/oceans-twelve). [The full order.](https://film.one/collections/oceans.md)

### Reviews we read (13)

- **Total Film** (85/100, inferred): 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. [Read](https://www.gamesradar.com/oceans-eleven-review/)
- **Empire**, Emma Cochrane (80/100, inferred): 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. [Read](https://www.empireonline.com/movies/reviews/ocean-eleven-review/)
- **Radio Times**, Joanna Berry (4/5): 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. [Read](https://www.radiotimes.com/movie-guide/b-ha6bya/oceans-eleven/)
- **The Guardian**, Peter Bradshaw (80/100, inferred): 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. [Read](https://www.theguardian.com/film/2002/feb/15/culture.peterbradshaw1)
- **Time Out**, GA (80/100, inferred): 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. [Read](https://www.timeout.com/movies/oceans-eleven)
- **The New Yorker**, David Denby (50/100, inferred): 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. [Read](https://www.newyorker.com/magazine/2001/12/10/deceivers)
- **Los Angeles Times**, Kenneth Turan: 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. [Read](https://www.latimes.com/archives/la-xpm-2001-dec-07-et-turan7-story.html)
- **Screen Daily**: 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. [Read](https://www.screendaily.com/oceans-eleven/407680.article)
- **Slant Magazine**, Ed Gonzalez: 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. [Read](https://www.slantmagazine.com/dvd/oceans-eleven-dvd/)
- **The Hollywood Reporter**, Kirk Honeycutt: 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. [Read](https://www.hollywoodreporter.com/movies/movie-news/oceans-eleven-2001-review-953698/)
- **The New York Times**, Elvis Mitchell: 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. [Read](https://www.nytimes.com/2001/12/07/movies/film-review-for-the-new-rat-pack-it-s-a-ring-a-ding-thing.html)
- **Variety**, Todd McCarthy: 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. [Read](https://variety.com/2001/film/reviews/ocean-s-eleven-3-1200552459/)
- **Paste**, Jesse Hassenger (80/100, inferred): 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. [Read](https://www.pastemagazine.com/movies/steven-soderbergh/oceans-eleven-steven-soderbergh)

## Details

- **Director:** Steven Soderbergh
- **Director:** Steven Soderbergh
- **Screenplay:** Ted Griffin
- **Cinematography:** Steven Soderbergh
- **Editor:** Stephen Mirrione
- **Music:** David Holmes
- **Production design:** Philip Messina
- **Producer:** Jerry Weintraub
- **Cast:** George Clooney as Danny Ocean; Brad Pitt as Rusty Ryan; Andy Garcia as Terry Benedict; Matt Damon as Linus Caldwell; Julia Roberts as Tess Ocean; Casey Affleck as Virgil Malloy; Scott Caan as Turk Malloy; Don Cheadle as Basher Tarr
- **Runtime:** 1h 56m
- **Certificate (MPA):** PG-13
- **Release (the US):** 7 December 2001
- **Genres:** Thriller, Crime
- **Part of:** [Ocean's](https://film.one/collections/oceans.md) · 1 of 3
- **Budget:** $85 million
- **Box office:** $451 million
- **Trailer:** https://www.youtube.com/watch?v=n3epi9hPbqQ

## Where to watch in the US

- Amazon Prime Video: rent $5.99, uhd
- Amazon Prime Video: buy $9.99, sd

*Checked 2026-09-10.*

Also available in: AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, HK, HR, HU, ID, IE, IL, IN, IS, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, SI, SK, TH, TR, US, VN. Add `?region=XX` to this URL for another country.

## If you liked this

- *Rififi* (1955): The heist done in near silence, in Paris, with real consequences afterwards.
- *The Sting* (1973), Fi1m 85: Newman and Redford run a long con with the same easy charm. — [Fi1m page](https://film.one/film/the-sting.md)
- *Out of Sight* (1998), Fi1m 86: Soderbergh and Clooney a few years earlier, funnier and with a heart. — [Fi1m page](https://film.one/film/out-of-sight.md)
- *The Italian Job* (1969): British crooks, Minis and Noël Coward running the job from prison.
- *Logan Lucky* (2017), Fi1m 76: Soderbergh robs a racetrack with rednecks instead of film stars; just as nimble. — [Fi1m page](https://film.one/film/logan-lucky.md)

---
© 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-eleven