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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The premise of The Lake House — that two lonely singles, Keanu Reeves and Sandra Bullock, can fall in love by sending messages back and forth to one another through the time-travelling mailbox outside the home that they both, on different occasions, owned — opens itself up to two smart-ass questions, or maybe two smart-ass fields of questions.