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Elmore Leonard’s tale of a bank robber and a federal marshal who fall for one another while chasing each other across the country offered Soderbergh and screenwriter Scott Frank the opportunity to make a mature love story that’s also a crackling, sexy thriller. Damon is perfection, the human embodiment of Marvin Hamlisch’s burbling retro score.George Clooney and Jennifer Lopez are perfectly paired in the leads, with terrific support provided from Steve Zahn, Dennis Farina, Albert Brooks, Don Cheadle, Michael Keaton and Samuel L. It’s just as good as The Limey and offers many of the same delights – a scrambled chronology, a gorgeous visual aesthetic, a screenplay that expertly folds melancholy meaning into the body of a conventional thriller – with a more romantic vibe. Every role is cast with a comic performer, giving the story an even stranger energy. George Clooney credited Soderbergh with forcing him to abandon his 90s tics in Out Of Sight, and the two formed a creative partnership that lasted most of a decade.
He’s an intelligent storyteller, and even when he’s making sillier, fluffier films – like, say the Ocean’s trilogy, which he once described as the closest he’ll ever come to making superhero movies – he refuses to condescend.Nominated for five Oscars, it won four: Benicio Del Toro won best supporting actor, Stephen Gaghan won best adapted screenplay and Stephen Mirrione won best film editing, and Soderbergh himself was named best director.(He was also up for directing Erin Brockovich; it was a good year.) The best picture prize went to Gladiator, but everyone makes mistakes.Soderbergh demonstrates that he can fulfill all the requirements of mainstream entertainment without compromising himself or the material – not that Susannah Grant’s script was compromised to begin with, mind you.I think it’s safe to say the entire industry did a double-take when Soderbergh announced he’d be following Erin Brockovich and Traffic with a remake of an old Rat Pack heist picture, starring George Clooney and Brad Pitt in the roles created by Frank Sinatra and Dean Martin.
Soderbergh places that performance in a film that’s as lean and mean as its antihero, moving shark-like through the broken promises of 60s idealism, the sour side of Hollywood glamour and the pain of a man pushing further and further into this mystery so he can channel his grief into rage.