Andrei Tarkovsky and Steven Soderbergh each adapted Stanislaw Lem's source novel into fascinating films, full of expressionistic color choices.
If the medical drama leverages life-and-death stakes to wash viewers in emotion—those great, bathetic waves of romantic agony and release—Soderbergh refurbishes it into a delivery system for sensation.
There's a deftness to Ocean's Eleven that feels magical—of all the material for adults that I consumed a little too early, this was the only one that secretly felt like it was for kids.
Full Frontal’s constant and compulsive yanking the rug out from under the narrative isn’t just a formal game—it’s an attempt at identifying and resisting the tyranny of false stories.
Amongst Steven Soderbergh’s singular skills as a filmmaker is his uncanny ability to read the market—a knack for predicting the course of cinema and preemptively adjusting his working methods, and the films he makes, accordingly.
Flip past The Good German on television and—were it not for the presence of modern Hollywood stars—you might think you’d landed on Turner Classic Movies.
In Soderbergh's world, Terence Stamp's character is not a limey, but the Limey—a complete anomaly, a blank slate who rampages through LA by adopting, to its fullest extent, the illusion of limey-ness.
The 10 Best Supporting Performances in The Informant!
Steven Soderbergh's latest film empathizes with people that the system has forgotten.
Steven Soderbergh’s adaptation of Elmore Leonard’s Out of Sight is a heist story, a sexy potboiler, a noir rom-com that resurrects and perfects the lost art of cinematic sexual tension.
It’s noteworthy that, at the time of its release, Soderbergh claimed Side Effects was going to be his last film.