Every Steven Soderbergh Movie, Ranked

This tale was initially released in the year 2018, however, it’s been revised to incorporate Soderbergh’s most recent works, such as “Presence”.

One intriguing aspect of Steven Soderbergh‘s nearly 40-year film career is that, despite being incredibly talented, he hasn’t produced a standout masterpiece. While he’s created some remarkable movies and never delivers anything boring, his constant focus on innovation and experimentation has prevented him from creating the bold, defining work you’d expect from such an ambitious filmmaker. He’s a director who can make even a coffee table interesting for two hours, but always maintains a certain distance, keeping a part of himself detached. He’s exceptionally gifted, yet somewhat restrained.

He remains among the world’s most intriguing movie directors, with each new film becoming an immediate priority to watch. Although it was not entirely certain that he had retired, we are thrilled to see him returning strongly. With the premiere of “Presence“, we decided to revisit all his full-length productions and, as expected, rank them.

Ranking films directed by Soderbergh poses a unique challenge because his works span a wide range and often reflect diverse intentions. Ranging from large-scale studio productions to intimate, low-budget experiments, some intentionally provoke discomfort, while all are captivating in their own right. Despite the occasional misstep, we’d gladly revisit each one. And don’t forget: “Black Bag,” his latest project, is due soon!

35. The Good German (2006)

https://youtube.com/watch?v=watch?v=jVLZ1LUO8fU

Are you seeking evidence of Steven Soderbergh’s box-office influence during the Ocean’s sequels era? His ability to persuade Warner Bros. to produce The Good German, a World War II drama with a vintage feel, demonstrates his commercial clout. This movie didn’t merely imitate film noir and Casablanca; it also employed techniques from that era, such as shooting in the boxier aspect ratio of the time, using boom mics, and intentionally cheesy rear projection.

However, the design elements of The Good German are more intriguing than its narrative. The story revolves around American journalist Jake Geismer (played by Clooney) who investigates a conference hosted by the victorious Allied leaders in postwar Berlin. When Tobey Maguire’s character, Tully, is murdered, Jake uncovers a plot involving advanced weapons and a tempestuous prostitute (Cate Blanchett), whose husband may or may not be deceased. The chemistry between Clooney and Blanchett as former lovers adds depth to the film, but it feels more like Studio System War Drama: The Movie—every aspect is meant to evoke memories of a superior, past cinematic period.

As a result, The Good German comes across as a waxwork, sparking only mild intellectual curiosity about Soderbergh’s subversion of the earlier era’s more restrained attitudes towards sex, violence, and swearing. Critics often accuse his work of being cold—but this film is virtually preserved.

34. Full Frontal (2002)

In typical fashion, Soderbergh continued his streak of successful films (Out of Sight, The Limey, Erin Brockovich, Traffic, Ocean’s Eleven) by producing a seemingly deliberate flop, Full Frontal. This movie, which lacks a coherent narrative and appears to be little more than an aimless experiment, is loosely about Hollywood but ultimately serves as Soderbergh’s attempt to thwart his own rise to stardom. Unfortunately, Soderbergh becomes so engrossed in his artistic doodling that he neglects to engage the audience other than himself. However, we must acknowledge Nicky Katt for delivering some of the funniest Hitler impressions since Chaplin in this film.

33. The Underneath (1995)

Steven Soderbergh himself admits that his film The Underneath, a modern take on film noir, isn’t top-notch. Peter Gallagher stars as a compulsive gambler who rekindles an old flame with his ex-wife (Alison Elliott), now involved with a shady nightclub owner (William Fichtner). The movie draws from the Burt Lancaster thriller Criss Cross. Though it showcases Soderbergh’s signature elements like colorful cinematography, nonlinear storytelling, and genre-bending techniques, he himself considers it a misstep. However, this alleged flop served as a catalyst for Soderbergh to redefine his style, paving the way for a period of prolific creativity.

32. The Laundromat (2019)

In this telling of the Panama Papers scandal, director Steven Soderbergh collaborates once more with screenwriter Scott Z. Burns, delving into the intricate world of insurance fraud and financial misconduct. The film bears a resemblance to Soderbergh’s earlier work, Traffic, as it follows multiple narratives that occasionally intersect, but unlike its focused and intense predecessor, The Laundromat comes off as humorous and disjointed rather than deeply committed. While The Big Short demonstrated the effectiveness of this storytelling method by channeling righteous indignation, The Laundromat seems to only partially engage with the subject matter at hand.

31. Kafka (1991)

The sequel to Soderbergh’s “Sex, Lies, and Videotape” is a complex, challenging film that was destined to be difficult from the start, likely intentionally so. The enigmatic Soderbergh chose to create a movie about Franz Kafka, featuring Jeremy Irons as an unsuitable fit for the role. This film appears to embody Kafka’s style but seems more like an attempt to imitate a “Kafka-esque” writer. As a result, it becomes a puzzling artistic endeavor that intentionally repels viewers. However, despite its frustrating nature, the movie does have certain appealing aspects: it boasts Soderbergh’s distinctive humor, is never boring, and visually stunning. It holds particular interest for Soderbergh enthusiasts, especially those captivated by his early, rebellious phase. Unfortunately, finding this film isn’t easy: it was never distributed on DVD in the United States, and the rights have returned to Soderbergh, who plans to re-edit and re-release it at some point. In the meantime, your best option is old, grainy videos on YouTube.

30. Magic Mike’s Last Dance (2023)

As a movie enthusiast, I’d rephrase that as:

In a poignant blend of farewell and promotion, “Last Dance” could be Steven Soderbergh’s most unconventional work in a while within the Magic Mike franchise. This trilogy has consistently explored the inevitability of aging and the loss of youthful charm, but this final chapter is particularly tinged with nostalgia. The director intentionally dialed back the vibrant, energetic sensuality that characterized the first films, save for an exceptional opening scene featuring Channing Tatum’s Mike dancing intimately with Salma Hayek Pinault’s Maxandra and a captivating finale. Unlike the previous films, “Last Dance” offers fewer overtly sexy moments, focusing instead on Mike’s quest to establish himself as a theater director after being hired by Maxandra for a stage show. Interestingly, Soderbergh refrains from providing the typical fan service expected from sequels by not having Mike dance to “Pony” again. While this choice adds an intellectual dimension, it also makes the sequel less distinct and slightly more routine compared to its predecessors. Nevertheless, I must applaud Soderbergh and Tatum for challenging the formula and recognizing that perhaps it’s time for Mike to gracefully exit the stage.

29. Side Effects (2013)

Back then, I must admit I had my doubts about Steven Soderbergh sticking to his word and retiring after directing Side Effects. However, this suspenseful drama certainly hinted at a director in need of a break. There’s no denying his assurance as he weaves the tale (we believe) of a Manhattan wife teetering on the edge of despair, played by Rooney Mara – a narrative that swiftly takes an unexpected turn after a shocking act redefines the film’s genre. Side Effects boldly tests the boundaries of plausibility, creating space for lesbian subplots and characters so ruthlessly cunning they appear almost inhuman. The talented cast, including Channing Tatum, Jude Law, and Catherine Zeta-Jones, is more than ready for whatever Soderbergh serves up. Yet, Side Effects, despite its engaging intrigue, feels a touch too calculated, a tad too smug with its own mystery – hardly the fitting farewell it seemed to be. Thankfully, it wasn’t!

28. Let Them All Talk (2020)

It’s surprising that the two films directed by Soderbergh with Meryl Streep, known for her exceptional focus and dedication in acting, seem somewhat careless and lackluster. Perhaps this was why Streep wanted to work with Soderbergh initially – to unwind a bit?

The film under discussion, which stars Streep as a renowned novelist embarking on a cruise to receive an award in England accompanied by her two best friends (Dianne Weist and Candice Bergen) and her nephew (Lucas Hedges), is considered their better collaboration. However, it’s still awkward and clumsy. The movie was reportedly heavily improvised, making the scenes where the actors interact casually and exchange witty banter endearing and captivating. Unfortunately, whenever the narrative takes over, particularly during an unexpected twist in the last act, the film loses momentum. A documentary chronicling Streep, her co-stars, and Soderbergh on a boat might have been more engaging, as it likely would have maintained a smoother flow. Overall, this film is an unusual trifle that, truthfully, both Streep and Soderbergh are capable of surpassing.

27. Solaris (2002)

To those who label Soderbergh as merely a technical mastermind, his remake of Solaris serves as a powerful refutation. On the surface, it may appear detached but is deeply emotional beneath, making it a poignant portrayal of grief, particularly poignant given its release only a year after 9/11. Inspired by Stanislaw Lem’s novel and Andrei Tarkovsky’s iconic 1972 film, this new Solaris stars George Clooney as Chris Kelvin, a psychiatrist who journeys to a space station orbiting the planet Solaris. Upon arrival, he encounters Rheya (Natascha McElhone), his deceased wife who seems surprisingly alive. Familiar with the source material or Tarkovsky’s film, viewers can predict Soderbergh’s reinterpretation. However, the director’s emphasis on Kelvin’s emotional turmoil — grappling with a woman who took her own life while she persistently haunts him — gives the film a haunting grace. Despite being a box office flop and ripe for reevaluation, with Moonlight director Barry Jenkins among its admirers, Solaris remains an intriguing deviation in Soderbergh’s work, meriting a second glance, even if it’s overshadowed by Tarkovsky’s more grandiose and impactful film.

26. Bubble (2006)

One of Soderbergh’s films that you appreciate and respect more than you enjoy watching is Bubble, which gained attention for its unconventional release strategy in 2006, as it was released simultaneously in theaters, on DVD, and on-demand. Looking back at almost two decades, it’s an intriguing endeavor – using non-professional actors, improvised dialogue, and a straightforward narrative to portray the working class and their hidden rage. There are some memorable scenes, and surprisingly, Soderbergh shoots the movie in a straightforward manner. However, despite the “authenticity” brought by the non-actor cast, their performances and dialogue often feel stiff, leaving you feeling detached from the story. Nevertheless, Soderbergh’s compassion for his characters and the setting lingers, even though this film still falls into the category of one of Soderbergh’s experimental projects.

25. Presence (2025)

Without a doubt, it’s no shock that Soderbergh’s rendition of a haunted-house film carries his distinct style. The movie, named Presence, initially presents a seemingly ordinary scenario by introducing us to a troubled family who believe they’ve found their perfect home, except one of the children senses something sinister within the house, watching her stealthily. Taking on the role of both director and unseen entity, Soderbergh skillfully captures this foursome as they gradually recognize its presence. A blend of mystery (Who or what is this presence? What does it desire?) and a mesmerizing display of technical prowess, this minimalist thriller underscores Soderbergh’s penchant for experimenting with form, subtly reworking horror tropes while painting a portrait of an unfulfilled family. (Lucy Liu and Chris Sullivan portray the strained married couple.) Granted, Presence doesn’t amount to much in the end – its climax is underwhelming – but the joy Soderbergh derives from confounding our expectations is infectious.

24. Schizopolis (1996)

Steven Soderbergh’s unconventional comeback – the eccentric and self-referential indie film that he made so peculiar it seemed to make sense only to him – Schizopolis remains puzzlingly enigmatic today, serving as a rebellious milestone Soderbergh needed to establish after his challenges following the success of Sex, Lies, and Videotape. In this film, Soderbergh himself portrays a character named Fletcher Munson, with his then-spouse Betsy Brantley playing his wife. Their on-screen relationship appears to be an extended breakdown characterized by hollow dialogue and unrelenting monotony. The movie’s peculiarity makes it oddly compelling, even if it remains indecipherable. If Soderbergh needed to create it to move forward in his life, more power to him, and us too. Additionally: If Soderbergh ever decides to retire again, he surely has a career in the Mirror of Funny Faces waiting for him.

23. Gray’s Anatomy (1996)

Among all the Spalding Gray monologue films, the final one stands out visually, suggesting a deep mental connection between Soderbergh and Gray. Notably, Soderbergh went on to create another documentary about him posthumally. Regrettably, despite being engaging, funny, and sad in the classic Gray style, it appears less significant when compared to his other works. It’s more of a side project than a main event. In essence, Soderbergh explored many unusual ideas in this production, demonstrating an enthusiasm that perhaps surpassed Gray’s own. This film represents Soderbergh in the experimental style seen in “Schizopolis.

22. Contagion (2011)

In the context of “Outbreak” fans, “Contagion” stands out as an ideal fit for Steven Soderbergh’s methodical, precise style. Unlike other disaster movies filled with sensationalism and melodramatic moments, this film offers a captivating exploration of process – portraying how health officials grapple with a deadly virus and witness the slow collapse of society when it becomes apparent that humanity has no hope of survival. The movie’s eerie electronic soundtrack by Cliff Martinez heightens this sense of unease, making every cough or eye rub from characters seem ominous. However, what keeps “Contagion” from ranking higher on our list is its struggle to develop well-rounded characters. Jude Law’s character, the truth-seeking journalist, comes off as insipid, and Matt Damon’s morally upstanding family man lacks the depth needed to serve as the emotional anchor for this globetrotting ensemble thriller.

21. Unsane (2018)

Steven Soderbergh’s second film after his retirement shares similarities with “Logan Lucky” in that both are casual, self-expressive works by an artist who has parted ways not only with the studio system but also the burden of meeting high expectations as a renowned, global auteur. The movie “Unsane,” which pays homage to “Shock Corridor” and “One Flew Over the Cuckoo’s Nest,” is a rebellious thriller about a woman named Sawyer (portrayed by Claire Foy), who finds herself unwillingly confined in a mental hospital, trying to determine if her stalker (played chilling by Joshua Leonard) is one of the staff. The film subtly addresses the #MeToo movement through Sawyer’s struggle to be heard, while emphasizing the oppressive atmosphere with cinematography shot on an iPhone 7 Plus, which lends the visuals a disorienting distortion. Despite its carefree execution and sensational plot twists, “Unsane” leverages its defiantly lowbrow nature as a strength rather than a flaw, much like Sawyer herself, who never knows what’s coming next.

20. Behind the Candelabra (2013)

The movie “Behind the Candelabra,” directed by Steven Soderbergh, stands out because he doesn’t often delve into love stories. This film, based on the memoir of Scott Thorson, who was Liberace’s boyfriend, is one such exception. It’s also one of Soderbergh’s most heartfelt films, portraying how a aspiring vet (played by Matt Damon) gets entangled with the flamboyant entertainer, Liberace (portrayed by Michael Douglas). At first glance, this could seem like a campy comedy, but Soderbergh and his actors infuse it with genuine emotion, particularly exploring what attracted Thorson to the much older man. Damon’s performance in this role is remarkably sincere and sweet, offering a stark contrast to his deceitful portrayal in another Soderbergh film, “The Informant!”.

For a director known for his appreciation of the unusual, Soderbergh surprises us with his empathy in “Behind the Candelabra”. He acknowledges that this unlikely couple may not find their happily ever after. Yet, both Douglas and Soderbergh provide intricate portrayals of Liberace – Douglas offers a nuanced performance and Soderbergh highlights the insecurity, loneliness, and deep affection that bound the pianist and his lover.

19. No Sudden Move (2021)

In contrast to the typical lightheartedness one might expect from a Soderbergh film, this crime movie is noticeably somber. Unlike the lively enjoyment offered by the “Ocean’s” series or the elegant, sensual charm of “Out of Sight,” it presents a more subdued atmosphere, fitting for a tale about desperate criminals merely trying to survive. The storyline unfolds as a struggle against fate for our antiheroes, where they are eventually outmatched by the system. Don Cheadle and Benicio del Toro deliver commendable performances as part of a group assigned to steal a confidential document, which sets the stage for a narrative involving gangsters, disloyal lovers, and white-collar criminals.

“No Sudden Move” is set in Detroit during 1954, and Soderbergh meticulously incorporates intricate period details before delivering his social critique on racism and wealth disparity. This film may not receive the recognition it deserves within Soderbergh’s body of work, as it lacks the unique flair of his most exceptional films, but it still offers engaging subplots and stylistic nuances.

18. High Flying Bird (2019)

In a gritty, iPhone-filmed style reminiscent of Soderbergh’s work, “High Flying Bird” is an unconventional basketball film that remarkably lacks any actual basketball action. The story revolves around an NBA agent (Andre Holland) dealing with a league lockout, as he strives to secure his star rookie point guard’s pay and restructure the sport’s financial system. At its peak, it unfolds like a clever Soderbergh caper movie: A pivotal scene reveals our protagonist’s clandestine actions in a flashback. However, the plot can be somewhat convoluted – the agent’s past is somewhat over-explained, and the character played by Zazie Beetz could have been given more screen time to develop – yet, there’s an element of daring and innovation in what Soderbergh and screenwriter Tarell Alvin McCraney (of “Moonlight” fame) are attempting here. A unique aspect is that the climactic revelation revolves around an obscure civil rights book that is over half a century old.

17. Ocean’s Twelve (2004)

It’s often criticized more than it deserves that the least favorite film in the Ocean’s series is quite playful with Soderbergh’s style, and one scene, where Bruce Willis mistakes Julia Roberts’ character for the real Julia Roberts, is a classic example of this. Interestingly, Soderbergh himself claims this is his favorite Ocean’s movie. However, the plot can be overly complex at times, especially in its final act twist which somewhat undermines the rest of the film. Nevertheless, these movies, each one of them, are hard to resist watching repeatedly.

16. Ocean’s Thirteen (2007)

In the final installment of the series, Steven Soderbergh skillfully extracts the last drop of entertainment value. This finale bids farewell to Julia Roberts and introduces a delightfully seedy Al Pacino as a character reminiscent of Steve Wynn, who could very well be the most formidable villain throughout the series. Coincidentally, Andy Garcia’s Terry Benedict now aligns with them. The film is more compact, less self-referential than its predecessor, which is commendable as it leans more towards an enjoyable popcorn flick. Regrettably, the storyline involving Ellen Barkin and Rusty Ryan still falls flat, but the ending provides a satisfying, pleasing resolution.

15. And Everything Is Going Fine (2010)

Six years following Spalding Gray’s passing, Steven Soderbergh paid homage posthumously with an innovative documentary approach. Unlike typical documentaries featuring narration or interviews, this project solely utilized Gray’s own footage to piece together the biography of one of his idols. Remarkably, the result is a captivating tribute that essentially lets Gray serve as his own eulogist. In many ways, it feels more like a Spalding Gray film than the one Soderbergh originally created about him.

14. Kimi (2022)

Given the quick-witted and elusive nature of director Soderbergh, it was only natural for him to tackle a pandemic film – another intriguing experiment in his repertoire. The plot revolves around an agoraphobic character, portrayed by Zoe Kravitz with intelligence and intensity, who, while working as an audio consultant for an Amazon-like tech company, might have stumbled upon clues of a murder. This tale is both light-footed and clever; the transition in the second half into a more conventional action movie/thriller is skillfully executed with a good deal of humor. If Chekov had a nail gun in one of his plays, this is how he would have utilized it. Soderbergh can effortlessly create these smaller straight-to-streaming projects today, but don’t let the simplicity fool you – the quality is exceptional and superior to most others in the field. Plus, another fantastic score by Cliff Martinez deserves recognition.

13. Haywire (2011)

In my perspective, I found myself drawn to the gritty action-thriller, “Haywire,” a film born out of adversity. After a falling out with Sony over the adaptation of “Moneyball,” director Steven Soderbergh was in a slump when he stumbled upon MMA fighter Gina Carano on television. As he put it, “She had just lost her last fight, so it seemed like an opportune moment for us to collaborate, given that I’d been let go and she’d been defeated.” This fortuitous encounter led to the creation of a raw, adrenaline-fueled movie where Carano’s character, Mallory Kane, is betrayed in Dublin and spends the rest of the story uncovering her traitor.

“Haywire” encapsulates Soderbergh during his experimental phase, where he opted for an amateur like Carano as the lead and infused his intellectual touch into the action genre. The film delivers a series of exhilarating, close-quarters fight scenes that keep the audience hooked from one sequence to another. While the narrative may lack staying power and emotional depth, the visceral excitement of meticulously orchestrated combat sequences is more than enough to propel viewers forward.

12. King of the Hill (1993)

During that era, Stephen Soderbergh’s coming-of-age film, adapted from A. E. Hotchner’s memoir, was met with praise and relief after the anticipation following “Sex, Lies, and Videotape” and the disappointment with “Kafka”. Soderbergh enthusiasts were relieved that their faith in him hadn’t been misplaced and that he wasn’t a one-hit wonder. While somewhat traditional compared to his other works, “King of the Hill” offers a profound exploration of a young St. Louis boy (portrayed by newcomer Jesse Bradford) who finds himself alone when his mother is hospitalized for tuberculosis, his brother is sent to live with an aunt, and his father takes a job as a traveling salesman. Soderbergh and cinematographer Elliot Davis imbue this period drama with a nostalgic hue, but it’s more of a trick; “King of the Hill” may appear warm and wistful, but its narrative is actually quite unsentimental about how daunting the adult world can seem to children, particularly when they are thrust into it prematurely. The film also marked the debut of Adrien Brody as the hero’s older friend, and featured future stars like Amber Benson, Katherine Heigl, and Lauryn Hill. Despite being the first and only time Soderbergh focused a narrative around a child’s perspective, “King of the Hill” is too intelligent and subtle to be considered merely a children’s film.

11. Logan Lucky (2017)

In simpler terms, Soderbergh’s latest film, after his supposed retirement, is like an experienced player casually swinging a bat in the batting cage, only to hit every ball out of the park. The news in this movie calls their heist “Ocean’s 7-11,” and while you might chuckle at the clever reference, the film truly lives up to it. Soderbergh plays with his West Virginia characters, but they’re never made fun of; instead, they prove themselves to be smarter than anyone expects. According to him, he no longer wants to make high-end movies, but rather ones that everyone can watch and enjoy. If this is the new direction for him, he’s off to a great start.

10. Che (2008)

The film that left Soderbergh drained – he still mentions it today as having exhausted him to no end – turned out to be worth every bit of strain. Typically presented in two parts, yet magnificently displayed as a whole during festival screenings, Che showcases Benicio Del Toro’s most authentic and heartfelt performance, devoid of gimmicks, as the rebel who neither Soderbergh nor the audience lionize or demonize. The first half might be slightly stronger than the second, but the overall film remains compelling. Given his psychological wellbeing, Soderbergh may never make another movie like it again; however, this is Soderbergh at his masterful best, painting on a grander canvas with equal skill.

9. The Limey (1999)

Soderbergh has entered a raw crime genre with this thriller that seems to be too cool for any setting. The story revolves around an English father, Terence Stamp, traveling to America to find the perpetrators who took his daughter’s life. To make things more challenging, Soderbergh incorporates flashback scenes featuring a younger Terence Stamp from the 1967 movie “Poor Cow.” However, it is the 1999 version of Stamp that truly shines, embodying anger and menacing vengeance as a former assassin on a mission for retribution. The film may lack depth, but its style is nothing short of extraordinary.

8. Magic Mike (2012)

In a sequence of unconventional choices, filmmaker Steven Soderbergh’s fascination with portraying Channing Tatum’s pre-fame life as a male stripper in the film “Magic Mike” ranks among his most unusual deviations. Despite its peculiarity, “Magic Mike” is an undeniable delight – tinged with a poignant understanding that the protagonist, Mike (played by Tatum), can’t continue this lifestyle forever. Set in the Xquisite strip club, run by the flamboyant Dallas (Matthew McConaughey), Mike enjoys the female attention and the money, but yearns for a respectable exit, like selling custom-made furniture.

“Magic Mike” captures the exhilaration of a Scorsese film as Mike and his peers revel in their reign as Tampa’s kings, but, much like in a Scorsese film, drugs, egos, and money eventually corrupt everything. Soderbergh finds humor in this peculiar subculture, yet there’s also a deep empathy for Mike, a handsome Peter Pan on the brink of maturity. McConaughey delivers an exceptional performance, while Tatum showcases his sex appeal, depth, and subtle comedic timing beyond being just the “Step Up” heartthrob.

As an extra bonus, “Magic Mike” turned out to be one of Soderbergh’s most successful films – not as sleek as the “Ocean’s” series, but definitely more emotional.

7. The Girlfriend Experience (2009)

A movie produced during the lead-up to the 2008 presidential election, as well as the global financial crisis, “The Girlfriend Experience” by Soderbergh initially garnered attention due to its unconventional casting of adult film star Sasha Grey as an upscale Manhattan escort. However, with hindsight, this movie offers a striking portrayal of what it was like when the world’s economy was on the brink of collapse. The film is centered around transactions, primarily between Grey’s character, Christine, and her wealthy clients. Both the viewers and the characters recognize how money influences every decision, be it in personal relationships or professional choices. Although Grey may not be a seasoned dramatic actress, she effectively portrays a character who has mastered the art of transforming herself into a detached commodity for her clients — a symbol that aptly represents a society where everyone is either a buyer or a seller.

6. Erin Brockovich (2000)

This film, though similar to others you might expect from Soderbergh, remains distinctively his. It carries the intelligent, assured style he’s known for, yet avoids being overly sentimental while stirring up emotion. Moreover, it showcases one of Soderbergh’s underestimated abilities – capturing a movie star in full glory. Despite its familiarity, it feels fresh and innovative. When in doubt, Soderbergh pairs Julia Roberts and Albert Finney together, allowing them to truly shine. For a director known for his independence, Soderbergh shines brightest when he embraces Hollywood-style filmmaking.

5. The Informant! (2009)

Soderbergh has been widely recognized for boosting George Clooney’s film career by crafting a fitting stage for his charming, slightly smirking on-screen persona. However, less attention has been given to their working relationship with Matt Damon, who has delivered some of his most humorous and thrilling performances in Soderbergh’s films. For instance, recall Damon’s exceptional portrayal as the kept man in “Behind the Candelabra.” The pinnacle of their creative bond, however, is arguably “The Informant!”. Although many of Soderbergh’s movies revolve around deception, the most elaborate con takes place here.

“The Informant!” tells the true story of Mark Whitacre (Damon), a Central Illinois executive whose life is an intricate web of lies he crafted for public consumption – and us, the audience. By skillfully manipulating the concept of the unreliable narrator, “The Informant!” could be Soderbergh’s equivalent to “The King of Comedy.” As Mark’s friendly voiceover gradually unveils the extent of his mental decline, the movie becomes a 90-minute exploration of the pain hidden behind a liar’s cheerful facade. The film’s upbeat Marvin Hamlisch score and Soderbergh’s seemingly contradictory use of stand-up comics in serious roles add to its artificial feel – a deliberate tactic to critique the story’s theme: the lengths ordinary people will go to create improved versions of themselves.

4. Sex, Lies, and Videotape (1989)

Since Sex, Lies, and Videotape first premiered in cinemas, Steven Soderbergh has seldom surpassed it – even as his filmmaking style evolved and his skills grew increasingly impressive. His debut movie serves as the epitome of a Stunning First Feature, establishing him as a notable name in the industry. The making of Sex, Lies is now widely known: At twenty-something, an unrecognized Soderbergh penned the script in just eight days, inspired by the sour end of a relationship. He later explained that the film’s four main characters embodied different aspects of him. As such, Sex, Lies explores a married couple (Peter Gallagher and Andie MacDowell) on the verge of their sex life falling apart. He is having an affair with his wife’s sister (Laura San Giacomo) when his old college friend (James Spader) arrives in town, advocating that discussing sex is more gratifying than its physical act. Known for winning the Palme d’Or at Cannes over Spike Lee’s equally talented Do the Right Thing, Soderbergh’s film now appears as a cautionary tale for a self-absorbed society destined to become more preoccupied with documenting themselves than living authentic experiences. In hindsight, Sex, Lies is one of the most straightforward movies he’s made – yet still one of the most perceptive regarding people’s propensity for deception and being deceived.

3. Ocean’s Eleven (2001)

Initially, before starting work on his modern adaptation of the obscure Rat Pack-style Vegas crime story, Soderbergh referred to it as a “wind-up toy.” This description perfectly encapsulates this high-powered Hollywood production. With its impressive cast, one wouldn’t have predicted much from the upcoming Ocean’s Eleven, which appeared to be a parade of A-list actors taking a break to star in an ultra-chic heist movie. However, the film stands as Soderbergh’s zenith as a self-assured director, showcasing his exceptional talent for creating suspense, misdirection, and intricate storytelling.

While there’s no need to rehash the plot – it’s likely airing on cable at this moment – let’s reminisce about how delightfully entertaining the entire project was. George Clooney effortlessly carried the Cary Grant comparisons, while Brad Pitt tapped into his early career shenanigans to portray a cool character with a touch of lovable foolishness. Matt Damon embraced his Ringo Starr/younger brother role alongside his senior co-stars. Andy Garcia finally received the suave villain role he’d always been due, and revered icons Carl Reiner and Elliott Gould had a blast on set. Newcomer Julia Roberts demonstrated potential – keep an eye out, she’s destined for stardom.

2. Traffic (2000)

Screenwriter Stephen Gaghan, who was once an addict himself, struggled to craft a story about the War on Drugs after extensive research and interviews. However, his fortunes changed when he met director Steven Soderbergh, who shared his passion for exploring the War on Drugs. Soderbergh suggested that Gaghan check out a British series called Traffik. Inspired by this, they collaborated to create Traffic, a film showcasing Soderbergh’s knack for creating intricate and thought-provoking narratives.

This critically acclaimed drama doesn’t claim to offer solutions, but it provides an unflinching and insightful portrayal of the devastating impact of this seemingly unsolvable conflict on countless lives and social divisions. Benicio Del Toro won an Oscar for his gripping performance as a Mexican policeman, while other actors such as Don Cheadle, Catherine Zeta-Jones, and Michael Douglas also delivered standout performances in their roles as a cynical DEA agent, a drug kingpin’s wife thrust into power, and a judge confronting the stark realities of America’s drug problem.

Unlike a typical message movie, Traffic is characterized by Soderbergh’s signature detachment, making its depiction of lost lives and ineffective law enforcement all the more disheartening.

1. Out of Sight (1999)

The film “Out of Sight” showcases Steven Soderbergh as an exceptional director with an offbeat yet mainstream flair, marking it as George Clooney’s breakout role (think beyond “The Peacemaker”). This movie seamlessly blends elements from ’70s crime dramas, Quentin Tarantino-esque cool, and classic ’50s dames-and-fellas detective thrillers, creating a unique blend that feels simultaneously nostalgic and contemporary. Soderbergh masterfully combines these genres without making it obvious, resulting in a timeless piece. The hotel room scene stands out as an iconic representation of cinematic sensuality to this day. Although Soderbergh went on to make bigger films before and after “Out of Sight”, many consider this as the one where he nailed it perfectly.

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2025-01-25 02:58