Who doesn’t love politics and a good old scandal? Screenwriter …
Ocean’s Twelve has a reputation that will always precede it; some have called it an anti-sequel, and publications like Entertainment Weekly have dubbed it one of the worst sequels of all time. Though both reactions are, perhaps, understandable, neither is remotely accurate. Ocean’s Twelve is an inherently self-aware sequel, possibly the most self-aware follow-up in modern history. What Steven Soderbergh, screenwriter George Nolfi (whose original script, Honor Among Thieves, was completely unrelated to Ocean’s Eleven and was sold initially before that remake had been released), and the slightly larger-than-before ensemble cast did was make a sequel to a critically and commercially lauded caper film that was wholly cognizant of the fact that it was a sequel to a critically and commercially lauded caper film. Ocean’s Twelve toys with audience expectations, because to cave into them would’ve promised something potentially more disturbing and commonplace than what many perceived to be an ambitious creative flop: something boring.
Three significant events have occurred in 2013 that lend credence to the claim sci-fi is on its death bed as far as mainstream moviemaking goes. Star Trek Into Darkness continued to drive its franchise further and further away from its ideological roots in pursuit of money spinning breakneck action with a loose plot better suited to the Mission: Impossible series; the announcement that Star Wars will be revamped under the tutelage of the very same J.J. Abrams shows that rather than create new iconic franchises the executives would rather bleed dry the old ones; and Avatar will be graced by three sequels, suggesting a lack of faith in fresh ideas on the part of James ‘Mr. Innovation’ Cameron.