The series is buoyed by a sharp script but fails to develop a real sense of momentum.
By never committing to neo-screwball antics nor a more serious analysis of codependency, the film ends up stranded in emotional ambiguity.
The Limey is one of many American films released in 1999 that seemed to be saying goodbye to the rebel spirit that allowed indies and mainstream movies to comingle as they had in the ’70s.
One of Soderbergh’s best films, a classic of the American crime film genre, is afforded a beautifully visceral transfer.
The film extends into impactful hyperbole the tensions inherent in being subjects of and subjects to incessant surveillance.
No Sudden Move mixes an old-school 1950s noir with a modern sense of social self-consciousness.
Soderbergh’s formal gamesmanship enlivens what could have been a stodgy scenario.
Steven Soderbergh takes a macro approach to the scandal, though the results, with rare exception, are vexingly micro.
One of the Criterion Collection’s best recent discs, this restoration of Sex, Lies, and Videotape is a dream for cinephiles.
Even Unsane’s most ridiculous moments coast on the sheer energy of Steven Soderbergh’s aesthetic gamesmanship.
Mosaic suggests a mammoth world that exists beyond Steven Soderbergh’s rigorously structured narrative.
Soderbergh’s bracingly playful return to cinema is accorded a stunning transfer and little else, though the film itself is more than enough.
Steven Soderbergh’s Logan Lucky is an ensemble comedy that’s simultaneously effervescent and cerebral.
The series dares to locate Steven Soderbergh’s capitalist themes between the sheets.
The chickens of gilded-era capitalism come to roost in as many configurations as are possible.
Just how soap-operatic are Soderbergh and writers Jack Amiel and Michael Begler willing to go?
This episode sees its characters ground up especially in the gears of their own patriarchal systems.
Visually, the episode’s centerpiece is the Knick’s much-alluded-to charity ball, played at once as a sprawling comedy of manners and a jawdropping pictorial spectacle.
The Knick’s second season has seen Soderbergh turn his camera on different strains of pedagogy afforded by the turn-of-the-century milieu.
Steven Soderbergh’s camera seamlessly stitches the hospital’s constituent parts together in what appears to be real time.