OCEAN'S ELEVEN (***½)
OCEAN'S ELEVEN is advertised as a heist-flick. You've probably seen the trailers. Steal US$150 million from 3 Las Vegas casinos. Robbing a seemingly impregnable fortress for valuable items is a tired Hollywood formula (remember MISSION: IMPOSSIBLE?). Though the film presents this daunting task, it is the least of its merits. OCEAN'S ELEVEN is a glamorous production with even more glamorous stars and a classic script.
Looking at the film's cast, you think you were reading an issue of People's 50 Most Beautiful People. The first 5 actors listed above have all been on that list at one time or another. Each of the first 3 have placed first in that list in different years. Preparing to view the film is like preparing to see the Chicago Bulls' Championship roster. Sometimes you can't stand them, but when they start playing, they're so good that you can't help but root for them. I'm sure the filmmakers behind this project wanted to make a good product, otherwise the salaries of their superstars alone would have bankrupted the production, since the top 3 actors here are all in the US$20 million club (they probably are the casinos).
There's not much we need to know for this flick. Danny Ocean (George Clooney of OUT OF SIGHT) gets out of jail. We learn he got caught because of marital problems with his now ex-wife Tess (Julia Roberts of ERIN BROKOVICH). Upon his parole, he looks for his old partner-in-crime Rusty (Brad Pitt of MEET JOE BLACK) and together they enlist the help of nine other fellows to knock over the 3 most profitable casinos on the Las Vegas strip. These casinos are run by an all-knowing casino boss Terrence Benedict (Andy Garcia of THE GODFATHER PART III), who just happens to be Tess' new main squeeze.
This is no ordinary big-budget Hollywood bonanza. Even though the motivations behind the film's proceedings are completely predictable, they cannot dilute the film's resonant atmosphere, its jazzy performances, and its superb dialogue. The interplay between the central characters is intoxicating. I haven't heard words spoken with such a sharp cleverness in quite a while. The talk is snappy, firing on all cylinders. It has the smartness and wit of OUT OF SIGHT and the class of CASABLANCA. I loved Andy Garcia's inside joke by quipping "Of all the gin joints in all the world, huh?".
Most blockbusters have a lot of one-liners. But this movie goes beyond that. Most of its conversations have to be seen to be appreciated. One exchange that stands out is this sample between Mr. Clooney and Ms. Roberts:
Tess: I'm with Terry now.
Danny: Does he make you laugh?
Tess: He doesn't make me cry.
Though the film's script is first-rate, much of the credit goes to the actors (and I mean all of them) for bringing its words to life. Andy Garcia is very impressive as Terry. Finally he has found a role to sink his teeth into. He has always been one of the better Hollywood actors around, but settles for smarter roles not found in most mainstream films. His work here is almost a carbon copy of Robert De Niro's casino boss in Casino (try to notice his commanding walk). The legendary comic writer/director/actor Carl Reiner (THE JERK) shows that he can do serious roles too. When he impersonates a European tycoon to scam the casino boss, he looks dead serious. Another upcoming comedian Bernie Mac (ABOVE THE RIM) is a revelation. He displays a lot of authority and focus as a casino card dealer. And though Julia Roberts hardly does anything significant, her presence does wonders for the picture. We want her and Mr. Clooney to get it on (that's the secret for any on-screen romantic couple to work). Casting her is perfect because it is she, not the money, who is the prize.
George Clooney and Brad Pitt (ladies, stop drooling) are the big screen's coolest duo since Robert De Niro and Jean Reno in RONIN, but much more suave. They set the tone of intelligence, confidence, and daring, and maintain it throughout the film. They have a wonderful scene together where Rusty teaches young upcoming actors how to play poker (the young actors playing themselves!), them being Joshua Jackson (DAWSON'S CREEK), Holly Marie Combs (CHARMED), and Topher Grace (THAT 70'S SHOW). This scene takes on a new meaning since it not only looks like a lesson in poker, but also how to become a superstar (especially since Joshua Jackson looks uncannily like a young George Clooney).
A friend of mine asked me the the other day why Mr. Clooney gets higher billing than Mr. Pitt. Brad is more well-known here in the Philippines, but George is the bigger fish in the US. Why, you say? Well, though Brad is substantially more attractive than George, George has a huge abundance of one thing that makes a Hollywood legend... presence. He oozes it. I think George Clooney is probably Hollywood's most handsome man not named Tom Cruise. He has the style and grace of Cary Grant, and the tough demeanor of Steve McQueen. And he's not bad-looking either. Don't get me wrong, Brad has presence too, but his pretty-boy looks thins it out. There is such a thing as too good-looking, and despite his better acting abilities, he falls a bit short of George's rougish charm. Tom Cruise is a pretty-boy, but his acting ability, which is extremely underestimated, is miles beyond that of George's or Brad's.
For those of you who may think that this movie may talk too much, don't worry. The film's caper will be highly entertaining. There'll be some neat special effects, amusing recruitment sequences, elaborate preparations, and alluring ambience. Las Vegas is a city of flair, and this film screams "Glam, glam, glam"! Steven Soderburgh (last year's Oscar winner for Best Director in Traffic) is one of Hollywood's best directors. Here he struts his stuff and shows a great eye for mood and style. The film has some memorable scenes, such as Basher watching a hotel being demolished on TV when it's right outside his window; the sight of Danny waiting to be interrogated between two hotel goons; and a beautiful closing sequence where scenes of the huge fountains of Las Vegas are set against the music of Claude Debussy's "Clair De Lune."
Let's not forget the casino robbery, which plays better than it actually is. How they get the money out shouldn't be surprising, but Mr. Soderburgh does a good job of directing misdirection. The entire plan, once you think about it, is absurd. I kept on thinking, "How the hell did they pay for all that equipment and manpower?" But who cares? The delivery of lines, the charisma of the leads, and stylish feel are all so good, that it touches everything else. OCEAN'S ELEVEN is a skillful exercise in class and fun.
Posted by FLIPCRITIC at January 24, 2002 12:00 AM