A Very Solid 8 Out of 11
Steven Soderbergh's Ocean's trilogy is the epitome of breezy, winking cool; from the stacked cast and the twisty, too-cool screenplays to Soderbergh's stylish work as director and cinematographer, all three films are grade-A popcorn entertainment (Ocean's Twelve is a little more oddball, but in a great way if you're on its wavelength). Rather than bring Clooney, Pitt and the rest back after 11 years, it's a smart move to not only make a film with women in the spotlight, but to also move away from the Vegas heist escapades of the first and third Ocean's movies. Cast Sandra Bullock as Danny Ocean's estranged sister, Cate Blanchett as her former partner in crime, a slew of other great actresses as their crew, and have them plot a heist at the Met Gala? This thing sounds like it writes itself! If only it could direct itself too.
Ocean's Eight is co-written by Gary Ross and Olivia Milch, and directed by Ross, a friend of Soderbergh, who serves here as a producer. Ross and company have done a pretty good job translating the feel of Soderbergh's films to this one without it feeling like a weak imitation. That is in no small part due to the new characters, all of whom feel distinct enough to not simply be female repeats of Danny Ocean's crew. Also refreshing is the New York setting, specifically the Met, which provides the same kind of glamorous backdrop we've seen in the previous films while still containing its own flavor. Where this film falls a bit flat is in providing that same crackling style that Soderbergh delivered behind the camera on his films. Ocean's Eight still has some throwback camera moves and transitions that fit the series' vibe, but overall the film is just a notch or two closer to being pedestrian. As the fourth entry in this series, and the first without Soderbergh as director or DP, I'm grading Ross on a curve, because the film still oozes panache; it just takes more of a backseat than it did before, which is only disappointing because, in the Ocean's movies, style is substance.
Where the film doesn't miss a beat is in assembling its band of thieves. Bullock feels immediately like an Ocean from the moment we meet her in a parole hearing, and Blanchett effortlessly radiates charisma whenever she's on screen. Mindy Kaling doesn't have quite enough to do as a jewelry expert, but she charms even when playing a secondary role in a scene. Awkwafina and Rihanna, as a hustler and a hacker, respectively, inhabit characters who feel fresh for this series, and Sarah Paulson is a welcome presence as a reluctant, retired thief who has a knack for crime. Stealing many scenes is Helena Bonham Carter as the bankrupt Irish fashion designer Debbie Ocean pulls onto the team to dress their mark: Anne Hathaway's Daphne Kluger. Where Bonham Carter draws attention for playing the nervous, inexperienced member of the crew, Hathaway runs away with the movie playing a caricature of what some people must think she's really like (a ditzy tryhard actress). Hathaway delivered a similarly excellent performance in The Dark Knight Rises, but in this lighter context she has room to play the role with a fine-tuned looseness that makes you wish she were a bigger part of the story, and she's by no means a small part of the movie. James Corden also pops up in the third act in a memorable role as an insurance fraud investigator.
Ocean's Eight mostly delivers on the promise of its excellent cast and fresh plot. Gary Ross and Olivia Milch have done a fine job crafting a film worthy of standing alongside Soderbergh's, though I'd be lying if I said Soderbergh wouldn't be welcomed back as director on Ocean's Nine. Perhaps the biggest compliment I can pay to this film is that I never once felt the need for the old cast to take over. Bullock and company step completely out of their male counterparts' shadow, and I hope they continue to carry the mantle of this breezy franchise. They more than deserve it.