Whitejack

The heist movie’s challenge is making the thieves – the natural villains – into the heroes. Ocean’s Eleven does that better than any of them. Using the old Hollywood tactic of flooding the screen with stardom and glamour (a lost art, truly) Ocean’s Eleven elevates itself above the typical remake, bringing a contemporary suave to a notably ‘60 era story.

Teetering on its 25th anniversary already, the script tosses out endless verbal jabs and aggressive banter to develop the heist crew’s forward-facing confidence even as their nerves eat them from the inside. George Clooney’s natural screen magnetism leads the charge, with the smaller parts filling gaps behind him. Smaller, in this case, ranges from Matt Damon to Brad Pitt. That’s not so small, actually.

Ocean’s Eleven is a modern Robin Hood… if only the crew were in this for anything other than themselves.

Deception happens to the audience as much as the core characters themselves. The swindle requires a complexity that’s more than improbable, yet in this world feels plausible after setting up these characters; they’re absolute professionals. Amid the Vegas lights, it turns into a spectacle about robbing a town whose entire economy is based on robbing tourists. Ocean’s Eleven is a modern Robin Hood… if only the crew were in this for anything other than themselves.

Their smugness is grand, but their ability to avoid personality clashes is better still. Money is so intoxicating, the thrill of the heist is such a high for them, that whatever their differences, it’s worth it to get one over on the regimented casino owner Terry Benedict (Andy Garcia). Inserting a romance brings the necessary personal conflict between Benedict and Danny Ocean (Clooney). There’s just as much pizzazz and fire in those dueling relationships for Tess (Julia Roberts) as there is for the heist, adding just enough humanity to the whole thing to make it palatable.

Video

A wonderful, intense HDR pass makes Ocean’s Eleven worth it on 4K. The bright lights of the casinos – interior and exterior – pop with endless lights, all brilliantly glowing. This, along with spot-on black levels, gives Ocean’s Eleven visual weight well beyond the Blu-ray.

With an (at times) hearty grain structure, Warner’s encode keeps pace, and the scan pulls out marginally raised textured. While more than likely a new scan, it doesn’t pop as much as some fresh 4K masters. Fidelity is fine but unremarkable. Medium shots wear down, failing to sustain the resolution’s bite. At times, it’s even a little smeary, but not to any digital degree.

Gains in color don’t alter the look. That means orange, bronzed flesh tones galore. Other primaries produce a zest and saturation that’s wholly appealing.

Audio

The same 5.1 mix from the Blu-ray comes over in DTS-HD. It’s fine, giving casinos aural space. Vegas exteriors come alive with cars or helicopters swirling around. The score fills in nicely. During the finale’s boxing fight, the arena sounds flood the soundstage in an effective way.

LFE is usually saved for the music, adding small, marginal thrust to the soundtrack. The high point is a motel collapse that produces an overbearing rumble, but certainly a notable one.

Extras

Steven Soderbergh and screenplay writer Ted Griffin open the bonuses with a commentary. The second track brings Pitt, Damon, and Garcia into the booth for another. Bonuses then follow previous releases, beginning with a 28-minute documentary. A look at the film’s style, fashion, and the original Ocean’s Eleven finishes this one out.

  • Video
  • Audio
  • Extras
4

Movie

Ocean’s Eleven’s witty sense of class hasn’t lose any of its bite over the years.

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The following six screen shots serve as samples for our subscription-exclusive set of 40 full resolution uncompressed 4K screen shots grabbed directly from the UHD:


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