![]() But once Tobey Maguire’s scheming soldier Tully is murdered, Jake uncovers a plan that involves high-tech weapons and a stormy prostitute (Cate Blanchett) whose husband may or may not be dead. (The film was shot in the period’s boxier aspect ratio, and incorporated boom mics and other 1940s-appropriate technology, including intentionally cheesy rear projection.) But the ideas behind the design of The Good German end up being a lot more satisfying than the story, which follows American journalist Jake Geismer (Clooney) as he enters postwar Berlin to cover a conference hosted by the victorious Allied leaders. to make this knowingly old-fashioned World War II drama, which didn’t just ape film noir and Casablanca, but also utilized some of the same tools of the era. You want proof of Soderbergh’s commercial clout around the time of the Ocean’s sequels? He was able to get Warner Bros. We’d watch all of these again, even the bad ones. But every single one of them is fascinating. ![]() Some of them are big studio tentpoles some of them are micro-budget doodles some of them seem to alienate on purpose. Not only are they wildly different - they even vary in terms of Soderbergh’s intent. With the release of Magic Mike’s Last Dance, we took a look back at all of his feature-length releases and, of course, ranked them.īut ranking Soderbergh movies is particularly difficult. Even though we never really believed he was retired, we’re elated that he’s back in full force. He’s still one of the most fascinating filmmakers on the planet, and every new movie is an instant must-watch. He’s a director who never makes anything terrible – he could shoot a coffee table for two hours and make it interesting – but always seems to hold a little bit of himself in remove. Perhaps the most fascinating thing about Steven Soderbergh’s 30-year-plus film career is that he’s a genius without a masterpiece. He’s made some fantastic movies, and he’s never made anything dull, but he’s also always so concerned with reinvention and experimentation that he’s never made the sort of go-for-broke, career-defining work you’d expect from such an ambitious filmmaker. This story was originally published in 2018 but has been updated to reflect Soderbergh’s latest films. Photo-Illustration: Maya Robinson/Vulture
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