I am watching it for the second time now, what you guys think of it compared to the other two?
Oceans 13
- Thread starter Wizard Keyaz
- Start date
I think it's really really shit! I liked the first one, never saw the original so the first one with G. Clooney and the gang was quite fun. I think the second one was good as well. But 13 is just too much. Not funny. And especially that shit with that tunnel machine annoyed me, I mean that was proper science fiction, our machine is broke but hey there is another one in Europe, used for digging The Channel or whatever, so let's quickly get it, athough we have only 16 hours to do so.... blablabla...
Wow you thought it was that bad, I watched this one in the cinema when it first come out, so I think may that is the reason why I enjoyed it first time round.
Anything with Frank Sinatra, Dean Martin and Sammy Davis Jnr. is going to be superior.
And when it comes to feminine deco then the beautiful Angie Dickenson is going to beat horseface Julia Roberts any second of the week!
versus:
The plot is impossible to follow since the proposed scam involves a multitude of moving parts that no one has bothered to properly think through. The premise involves breaking the bank at the Bank Casino, named after its smooth as a silk suit but ruthlessly unscrupulous owner Willy Bank (Al Pacino—please tell me he took home a huge paycheck to justify his presence in this film). Bank has just double crossed one of the original eleven, Reuben (Elliott Gould), and as we know if you cross one Ocean you cross them all. So Danny Ocean (George Clooney) gathers up the eleven, plus the one they picked up in the last film (was that Eddie Izzard?) plus a new one to make thirteen—but don’t ask me who the new guy is this time out, I can’t do the math.
Anyway, the new plot is so outlandish that Soderbergh, and writers Brian Koppelman and David Levein wisely gloss over any of its details for fear we’d laugh the film off the screen. And we don’t really need to know what they’re trying to pull off because Soderbergh doesn’t waste any energy trying to build suspense or tension. You know Danny’s going to come out on top and you know that anything that seems to go wrong will simply turn out to be a clever twist that Danny had anticipated all along. Yawn.
The film relies heavily on insider humor. Cryptic comments, punch lines with no set ups and smug gags between the stars are tossed out and designed to deliberately make people feel like outsiders. The goal—be obscure so people will feel as if they’re just not hip enough to get the inside jokes but they’ll be too embarrassed to complain because then that will mark them as uncool. Get the logic? Well, what it means it that no one works very hard at anything.
Soderbergh serves up some of Hollywood’s sexiest stars and yet he never plays on their glamour. Soderbergh invests the film with neither grit nor glamour. There’s a lot of money on screen in the Armani suits, gold cell phones and swanky hotels but it’s all just set dressing and background detail at best. Only the film’s score reveals any bounce or zing. The new Ocean films are amazingly devoid of any real style. This one, like its predecessors, is just badly shot too–lots of flat static shots with awkward, unmotivated camera moves. The editing by Stephen Morrione tries to create pace by going to split screens in the tradition of 60s heist films such as The Thomas Crown Affair. But Morrione (who’s done fine work on 13 Conversations About One Thing and Go) can’t manufacture pace or interest no matter how he cuts this material together. Crap, no matter how you slice it is still crap. The film and the stars are just full of themselves—thinking they are just so adorable and funny.
Old timers Elliott Gould and Carl Reiner (who’s barely in the film at all) are the most fun to watch. Clooney and Pitt are easy on the eyes, and make nice set dressing but that’s about it. Don Cheadle has an accent that comes and goes; Eddie Izzard talks unconvincingly about women; Shaoboo Qin wisely speaks only Chinese; and Matt Damon just talks fast in the hopes that we don’t notice he has nothing to say. Youngsters Scott Caan and Casey Affleck are kept on the periphery is a side plot involving a worker’s revolution in Mexico. There’s no chemistry between the stars except for a forced jokiness. But Soderbergh does miss some opportunities for some inside jokes. He never plays off the fact that this is the first time Pacino and Ellen Barkin (as Bank’s right hand woman) have re-teamed since their steamy encounter in Sea of Love. Plus there’s no acknowledgment that Pacino starred with Scott Caan’s dad James in The Godfather. The way the roles are divvied out also reveals how the star heirrarchy in Hollywood hasn’t changed much since the 60s. Ocean’s 13 may include blacks and Asians but their roles are as subordinate as Sammy Davis’ role was back in 1960. The stars now, as they were then, are still white and male.
The film attempts to pay homage to Frank Sinatra by putting him up on a gaudy Vegas pedestal. The whole film ultimately comes down to the fact that Bank shook Sinatra’s hand but didn’t accept the code that came with the gesture. One irony, though, is that Sinatra was a staunch Republican and this new Ocean entourage takes pride in their liberal views. But there’s something discordant in the way the film makes lame jokes about Zapata and workers’ rights at a Mexican factory. Danny even makes a crass joke about writing a check for $36,000 to triple the wages of the workers so that they go back to work and make the rigged dice for the con game Ocean is planning. Heck just imagine how much poverty could be eradicated if Clooney and Soderbergh donated the film’s budget to a worthy cause, and spared audiences the pain and suffering of yet another mindless Ocean journey.
Anyway this all brings me back to the point I was at back in 2001. Why did Soderbergh want to remake Ocean’s 11 in the first place? I thought he had gotten the big budget Hollywood star vehicle out of his system when he did Erin Brockovich but I guess he still felt the need to make an all star ensemble caper film. But now with this second sequel to a remake, he still exhibits no particular vision or purpose, and not even a sense of fun.
Ocean’s 13 (rated PG-13) is mindless fare. If it had a light and breezy touch you might be able to accept it as mild diversion and not be offended. But considering the price tag and the talent involved, it’s an obnoxious example of self-indulgent waste.
Anyway, the new plot is so outlandish that Soderbergh, and writers Brian Koppelman and David Levein wisely gloss over any of its details for fear we’d laugh the film off the screen. And we don’t really need to know what they’re trying to pull off because Soderbergh doesn’t waste any energy trying to build suspense or tension. You know Danny’s going to come out on top and you know that anything that seems to go wrong will simply turn out to be a clever twist that Danny had anticipated all along. Yawn.
The film relies heavily on insider humor. Cryptic comments, punch lines with no set ups and smug gags between the stars are tossed out and designed to deliberately make people feel like outsiders. The goal—be obscure so people will feel as if they’re just not hip enough to get the inside jokes but they’ll be too embarrassed to complain because then that will mark them as uncool. Get the logic? Well, what it means it that no one works very hard at anything.
Soderbergh serves up some of Hollywood’s sexiest stars and yet he never plays on their glamour. Soderbergh invests the film with neither grit nor glamour. There’s a lot of money on screen in the Armani suits, gold cell phones and swanky hotels but it’s all just set dressing and background detail at best. Only the film’s score reveals any bounce or zing. The new Ocean films are amazingly devoid of any real style. This one, like its predecessors, is just badly shot too–lots of flat static shots with awkward, unmotivated camera moves. The editing by Stephen Morrione tries to create pace by going to split screens in the tradition of 60s heist films such as The Thomas Crown Affair. But Morrione (who’s done fine work on 13 Conversations About One Thing and Go) can’t manufacture pace or interest no matter how he cuts this material together. Crap, no matter how you slice it is still crap. The film and the stars are just full of themselves—thinking they are just so adorable and funny.
Old timers Elliott Gould and Carl Reiner (who’s barely in the film at all) are the most fun to watch. Clooney and Pitt are easy on the eyes, and make nice set dressing but that’s about it. Don Cheadle has an accent that comes and goes; Eddie Izzard talks unconvincingly about women; Shaoboo Qin wisely speaks only Chinese; and Matt Damon just talks fast in the hopes that we don’t notice he has nothing to say. Youngsters Scott Caan and Casey Affleck are kept on the periphery is a side plot involving a worker’s revolution in Mexico. There’s no chemistry between the stars except for a forced jokiness. But Soderbergh does miss some opportunities for some inside jokes. He never plays off the fact that this is the first time Pacino and Ellen Barkin (as Bank’s right hand woman) have re-teamed since their steamy encounter in Sea of Love. Plus there’s no acknowledgment that Pacino starred with Scott Caan’s dad James in The Godfather. The way the roles are divvied out also reveals how the star heirrarchy in Hollywood hasn’t changed much since the 60s. Ocean’s 13 may include blacks and Asians but their roles are as subordinate as Sammy Davis’ role was back in 1960. The stars now, as they were then, are still white and male.
The film attempts to pay homage to Frank Sinatra by putting him up on a gaudy Vegas pedestal. The whole film ultimately comes down to the fact that Bank shook Sinatra’s hand but didn’t accept the code that came with the gesture. One irony, though, is that Sinatra was a staunch Republican and this new Ocean entourage takes pride in their liberal views. But there’s something discordant in the way the film makes lame jokes about Zapata and workers’ rights at a Mexican factory. Danny even makes a crass joke about writing a check for $36,000 to triple the wages of the workers so that they go back to work and make the rigged dice for the con game Ocean is planning. Heck just imagine how much poverty could be eradicated if Clooney and Soderbergh donated the film’s budget to a worthy cause, and spared audiences the pain and suffering of yet another mindless Ocean journey.
Anyway this all brings me back to the point I was at back in 2001. Why did Soderbergh want to remake Ocean’s 11 in the first place? I thought he had gotten the big budget Hollywood star vehicle out of his system when he did Erin Brockovich but I guess he still felt the need to make an all star ensemble caper film. But now with this second sequel to a remake, he still exhibits no particular vision or purpose, and not even a sense of fun.
Ocean’s 13 (rated PG-13) is mindless fare. If it had a light and breezy touch you might be able to accept it as mild diversion and not be offended. But considering the price tag and the talent involved, it’s an obnoxious example of self-indulgent waste.
You liked it then.
Even more rubbish than the 2 before it. Oceans 11 was just about tolerable. Just.
Matt Damon put some kind of thing on his neck that seduced the woman, what is that?
Once was enough for me. One of the few times that I have actually fallen sleep at the cinema.
Oceans 12 was the worst of the lot, IMO.
very weak imo.
the while story was ridiculous especially the part where they got Andy Garcia involved and yeah, the tunnel boring machine fiasco.
Oceans 11 I liked. should have quit there.
the while story was ridiculous especially the part where they got Andy Garcia involved and yeah, the tunnel boring machine fiasco.
Oceans 11 I liked. should have quit there.
Anyone know what Matt Damon put on his neck, is that real or just some movie crap?
crikey Wiz, feeling desperate?
it was a powerful chemical designed to waft pheremones towards the lady thereby making him irresistable to her.
thing is, I'd imagine that some women would love it and others would be puking in the doorway.
I do remember some of the girls at my old job telling me that they loved to go into the bosses office when he wasn't there as the scent he left behind was so sexy. he used to wear a certain aftershave that they liked, coupled with the fact that he was quite the looker. women used to turn their heads when he walked by. luckily I've not had that affect on women.
it was a powerful chemical designed to waft pheremones towards the lady thereby making him irresistable to her.
thing is, I'd imagine that some women would love it and others would be puking in the doorway.
I do remember some of the girls at my old job telling me that they loved to go into the bosses office when he wasn't there as the scent he left behind was so sexy. he used to wear a certain aftershave that they liked, coupled with the fact that he was quite the looker. women used to turn their heads when he walked by. luckily I've not had that affect on women.
i enjoyed oceans 11. was looking forward to ocean's 12, but what a fecking disappointment! a load of frog shit that was. When i head about ocean's 13, i wasn't that keen on it. however i was pleasently surprised by it, while it wasnt a patch on oceans 11, it was defintely better that oceans 12.
is exactly what i think too
Soderbergh really fecked up. Both sequels were a waste of download capacity (probably with the exception of the laser dance in 12). He should of called it day with 11