Steven Soderbergh rarely puts his name in front of movies. You’ll almost never see “A Steven Soderbergh Film” right before the title card. He uses pseudonyms based on his parents whenever he writes his own screenplay or edits his movies, which he does often. And yet he’s known as one of the best and most consistent in the business for caper and heist movies, for movies that question big business and authority, for movies featuring strong women and vulnerable men, and movies that use unusual directing techniques but are still unquestionably part of the Hollywood system. That’s been Soderbergh his whole career: one foot in Hollywood, one foot in indie filmmaking, going back to his earliest Super8 films to his more recent fare filmed entirely with an iPhone.
Soderbergh’s latest film, spy thriller Black Bag, is Certified Fresh as critics deliver his highest Tomatometer score since landmark debut, 1989’s sex, lies, and videotape. Black Bag is a two-handed character piece with Cate Blanchett and Michael Fassbender; Angelica Jade Bastién of Vulture says, “This is a master of complementary craft; of two great listeners and communicators bringing rapture to every gesture.”
Soderbergh has been called a great director of women, with the quadruple punch of sex, lies and videotape (Andie McDowell), Out of Sight (Jennifer Lopez), Erin Brockovich (Julia Roberts), and even Haywire, with Gina Carano making that rare crossover from the MMA set to the action star world, a move only a few fighters have succeeded in pulling off.
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