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Salon's Andrew O'Hehir says, "The handful of Tolkien purists likely to pillory Jackson for his various departures from the sacred text are missing the point on a world-historical scale. This isn't a doggedly literal adaptation, along the lines of Chris Columbus' competent but spiritless Harry Potter. It's an interpretation that seeks to capture Tolkien's magic in a new vessel, an epic with grimy hands and a core of mystery. It's a work of art created on its own terms."

While the Ring's Fellowship of nine noble heroes waits on the threshold, a fellowship of eleven shady characters stole the box-office prize for the week.

Ocean's Eleven is Steven Soderbergh's slick remake of a famously unsatisfying Brat Pack heist flick that starred Frank Sinatra, Dean Martin, Sammy Davis Jr., and a host of other stars. This version is a who's-who of Hollywood as well, with George Clooney, Brad Pitt, Don Cheadle, Matt Damon, and Elliot Gould just for starters. Clooney plays Daniel Ocean, a thief who walks out of prison and wastes no time getting back to break-ins—more specifically, he plans to rob three casinos. But this time it's not just about money. Ocean admits, reluctantly, that it's "about a girl," and about humiliating an arrogant casino lord.

For the record, let me remind you that robbing a casino is immoral—a crime, motivated by selfishness, ego, and materialism. This kind of warning is, really, about as necessary as putting a caution before a Bugs Bunny cartoon saying: "Warning! Playing practical jokes on hunters and gunslingers is reckless and dangerous." As with any film, it is important to be discerning, to separate the good meat of the movie's story from the sharp bones of its irresponsible characters.

The real draw of a film like this is the guessing game. Clearly the central characters of Ocean's Eleven are more focused on a match of wits than money. Watching them is like watching chess champions trying to anticipate each other's moves with cleverness and a stone-cold poker face. I thoroughly enjoyed the lighthearted, good-humored spirit of the movie, and laughed out loud at some delightful plot twists. It's also surprisingly free of shootouts and unnecessary killings (although an intentionally inflicted citywide power outage probably does more damage than this movie wants to admit). It's not a work that will change your life or inspire you, but as chewing gum for the brain, it's more challenging than Frank Oz's The Score and it tastes better than David Mamet's Heist. Along the way, I took a few notes on writing snappy dialogue.

The critic at the U.S. Conference of Catholic Bishops also appreciated the film's strengths. "Though director Steven Soderbergh treats larceny lightheartedly, [this] breezy remake brings together a good-looking, all-star cast with a slick story that zips along jauntily, providing escapist entertainment."

"There's a playful ease to the picture," says Michael Elliott (Movie Parables), "good, unselfish ensemble work by the cast; and a sure hand behind the camera. All in all, it's an enjoyable couple of hours."

The Orange County Register 's Holly McClure writes, "No one should go expecting anything more than an entertaining, witty, crime caper … nor anything less than an interesting ensemble piece with talented actors who know how to deliver a scene." She comes away with a few complaints. "We never get more than two-dimensional performances from the charismatic actors who each have the ability to deliver so much more. [It] left me wanting more and disappointed with an ending that fizzles."

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December (Web-only) 2001, Vol. 45