As in Steven Soderbergh’s much-loved Ocean’s Eleven, Gary Ross’ Ocean’s 8 begins at a parole hearing for our protagonist. She’s making nice and saying all the right things, arguing for a rehabilitation we genre fans know hasn’t occurred.
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It’s an assumption, an article of faith, but it always bears repeating: every best-of list is a subjective snapshot, bound by what we could or would see, the genres to which we gravitate, the last-minute audibles called because we simply can’t bear to leave out a title.
Much has been made of the unconventional, even “game-changing” financing model that Steven Soderbergh employed to get his new Logan Lucky out to the world. And much more will be written about whether or not it “worked,” whether its success revolutionized the film industry — saving the mid-budget movie by wresting profits and control from the suits and placing them back in the hands of the creators — or if its failure spells doom for the model.