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.
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.
It’s noteworthy that, at the time of its release, Soderbergh claimed Side Effects was going to be his last film.
The 10 Best Supporting Performances in The Informant!
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.
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.