While it seems as though Steven Soderbergh’s utterly self-sufficient and (deficient) The Good German, which we reviewed last week at indieWIRE, has already disappeared from public consciousness (even though it just opened Friday), Manohla Dargis’s terrific piece this weekend in the New York Times, might certainly prove to stand the test of time. Though a lot of criticism is leveled (sometimes from here, and sometimes unfairly) at the New York Times film section, there’s simply no question that writing like this—more of a think piece than a weekly review, though it heartily fulfills the needs of both—elevates the whole team, and film writing in general.
This, on Soderbergh’s resurgence of the past decade: “It has been a second act that, until recently, seemed as smart as the man living it but that has grown gradually more disjointed as Mr. Soderbergh’s penchant for experimentation has become an end in itself rather than a means to aesthetic liberation. That’s too bad for us, for him and for Hollywood, which frankly could use all the help it can get.” Good stuff—incisive, cutting, and evidence, along with Dargis’s recent piece on Inland Empire, that her hire was the smartest move the Times could have made. Thanks for the read.