The Stop Button

Two major things about Soderbergh’s approach to a memoir adaptation. They’re somewhat connected, so I might not manage to separate them out. King of the Hill has no frame, it has no narration. It has no context. It does not feel, at all, like a “true” story because there’s no attempt to classify itself as […]

A friend of mine thinks this entry is the series’s most successful, but–while it is a tad confrontational–I prefer the outright hostility to the average viewer the second one exhibits. Ocean’s Thirteen seems to be made more for the remaining audience. The people who got Twelve. The scenes in Mexico, in particular, are the sort […]

The amusement factor. Does that term even make any sense? Ocean’s Twelve is, in case anyone watching it was confused (which I find hard to believe, but of the principals, only George Clooney makes exclusively smart movies so Brad Pitt and Matt Damon fans are suspect), about enjoying itself. It throws itself a party no […]

I’m not sure who’s odder, Soderbergh for making it or Coleman Hough for “writing” it. Since much of the actual scene content is improvised, I think I’m going to have to go with Soderbergh. Bubble leaves one with quite a few thoughts–especially if the viewer knows the cast is nonprofessional and turn in better performances […]

I wonder how the producers sold Jeremy Irons on the film. It was his first major role after his Oscar and it immediately followed, so he probably hadn’t won when he started filming Kafka… however, imagine if they’d advertised the film as “Academy Award Winner Jeremy Irons running through the empty streets of Prague.”
Kafka’s Soderbergh’s […]