Steven Soderbergh Archives - Bright Wall/Dark Room

Well before Christian Grey donned his dumb ripped jeans, James Spader embodied the paradigmatic combination of vulnerability and composure; his appeal, from Crash to Secretary, requires our conviction that he would, and would like to, and could, punish us—only gently.

Market Forces

Tom Baker·

Issue 57: Steven Soderbergh

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.

Out of the Past

Brian Brems·

Issue 57: Steven Soderbergh

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.

Who Can See the Lies

Tessa Strain·

Issue 57: Steven Soderbergh

It’s noteworthy that, at the time of its release, Soderbergh claimed Side Effects was going to be his last film.

The Fixers

Ethan Warren·

Issue 57: Steven Soderbergh

The 10 Best Supporting Performances in The Informant!

Soderbergh’s Limeys

George Hardy·

Issue 57: Steven Soderbergh

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.

Guts and Glory

Sophia Nguyen·

Issue 29: Lenses

In Knick, the body is mystery meat. Squelching and sticky, it has a reality that repels abstraction and houses a dark disorder that wrecks any pretensions to mastery.

Prince of Darkness

Market Forces

Out of the Past

Who Can See the Lies

The Fixers

Soderbergh’s Limeys

Guts and Glory