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For “Ocean’s Thirteen,” watching the inventive and spontaneous bunch of professional men pulling off an impossible heist for the third time is a guilty pleasure to watch.
The usual suspects known for delivering their witty lines in effective, nonchalant ways, as well as doing impossible tasks in various capacities, are back with sophisticated humor, peppered ironies, comedic suspense, and contagious energy that has marked the franchise since “Ocean’s Eleven.”
Centering the saga on male camaraderie, team loyalty, and cool professionalism, this follow-up offering has clear personal motivations — brotherhood in the middle of revenge. The clan is reunited again to avenge their mentor from the moral crime of his swindler ex-partner.
This star-driven genre flick maintains the grace and manners the franchise is known for. The gentleman heistmeister Danny Ocean (George Clooney), along with his best-dressed tactician and sidekick Rusty Ryan (Brad Pitt) and the rest of his wild bunch, return to Las Vegas. They recapture much of the spirit of “Ocean’s Eleven” by pulling off another con to get even with the egomaniacal Vegas kingpin Willie Bank (Al Pacino) who double-crosses one of the original eleven Reuben Tishkoff (Elliott Gould). Without being exploitative of the original film’s reputation, this sequel’s familiarity and interconnections become a confection of silly gags and great visuals adhering to a clear and simple premise — all spiced up with a complicatedly breezy plot.
“Ocean’s Thirteen” looks fresh and sharp amidst its touches of formulaic style. Making up a true fun escapist heist movie, its smart one-liners and cool references to its previous chapters, and even to the stars’ off-screen personas, put the right chips on for a good deal.
“Ocean’s” helmer Steven Soderbergh proves his bravura wits as he engages the audience with grand visual and aural pleasure. The technical and scientific aspects of the heist are so complex that they may be hard to follow, but Soderbergh knows his way around. He has a firm grasp of technical devices to elevate the story with his splendidly staged scenes, fast tempo, and stunning framing. They all work together to keep up with the textual properties missing in the raw material. Indeed, his masterful direction and the lensing by Peter Andrews, along with the contributions by the rest of the equally-delivering staff, crew, and cast, make the film awesome to watch.
Credit is due to the clever script from writers Brian Koppelman and David Levien, also the ones behind the poker drama “Rounders.” The film consists of hundreds of brief scenes where the new heist is for the sake of friendship, not money. The cool and witty lines build a sleek narrative momentum throughout the film.
Each of the well-crafted characters deliver lines with relaxed wit, which makes the screenplay work for its best purpose. Danny and Rusty have the biggest parts in the story, while the rest of the gang in smaller but still well-written parts often operate individually in their own fun times.
The physicality of “Ocean’s Thirteen” relies on elaborate play on light and color. The whole film shines with a rich and diverse color palette. The stylistic flourishes and ostentatious interior design of Bank’s spanking new high-rise casino named appropriately as The Bank boasts bright and hot colors, mainly sumptuous golds and reds. Shot on a lavish set built on Warner Brothers’ biggest soundstage to date, the lurid colors, sterling sets, fabulous costumes, and illustrious props really keep up with the demands of an eye-catching Vegas. Add up The Bank’s impeccable CGI work, the absurd but nonetheless amazing twisting structure dominating the Vegas skyline yields to the film’s grand production demands.
The bright and warm colors of the casino spots render effectively opposite the blues and grays of the exterior scenes. The”Ocean’s” troupe aptly maintains that “cool men in cool clothes” look wherever they are. Production designer Philip Messina and costume designer Louise Frogley should be given due credit to their enormous contributions to the movie’s physicality. So goes with cinematographer Andrews, editor Stephen Mirrione, and composer David Holmes — all complementing each one’s work for the good of the final picture.