I'm a big fan of the insanely obtuse, dirt cheap throw-offs that Steven Soderbergh grinds out between Oceans installments (though I haven't seen Bubble yet, The Limey and, especially Full Frontal are underrated gems), but I'm also a big fan of the big, dumb commercial films that fund the artsy stuff. What makes these films so cool is that Soderbergh doesn't commericalize his visual style just because he's directing a summer blockbuster. Ocean's Thirteen looks amazing, with an aggressively oversaturated color pallet that gives the film a 1970s vintage feel. Soderbergh never lets the viewer get too comfortable with camera movements, either. He'll go from a long, slow elegant pan across a casino floor to queasy, Bourne-style hand held stuff to old-school Thomas Crown Affair-esque split screens, all in the service of a steel-trap caper plot that steels a few gags from the first two movies, but throws enough curveballs to keep the proceedings interesting. Another neat feature of these movies is that the people involved, swinging dick, gold-plated movie stars like Clooney and Pitt as well as an Oscar-winning director like Soderbergh have the confidence in their charisma and ability to hold an audience that they're willing to let the film slow to a crawl several times in the service of the sort of subtle but priceless interplay that is totally absent from most summer films. The makers of most other would-be blockbusters are so worried about ENTERTAINING with every frame that they're not willing to risk losing momentum.