In the midst of Gary Ross’s, not Steven Soderbergh's (though he was a producer), “Ocean’s 8” there is a scene in which our family made crook, Debby Ocean (Sandra Bullock), is browsing through possible additions to the crew with her confidant Lou (Cate Blanchett). Lou (Cate Blanchett) pulls up a headshot of a rather handsome fella, and Debby (Sandra Bullock) turns him down stating “A him gets noticed. A her gets ignored.” This scene is where I began to catch on to the con being fronted by “Ocean’s 8,” and it's one worth watching.
The film sets itself as a sequel, instead of a reboot. Taking place years after the heyday of Danny Ocean (George Clooney) who has passed away, at least we assume he has, and his younger sister has seemed to have learned all of his best moves and made them even better. Opening with a scene that harkens back to “Ocean’s 11,” quite literally, in which our feminine lead crook is attempting to earn parole. She says she wants the simple life, that her days as a thief are done, she even gets choked up discussing how her brother’s legacy has not inspired her, but we all know that’s a crock a shit. She, in fact, is playing a con, something that seems to be as natural to her as breathing air.
Why is she playing a con? To get out of prison right? I mean, obviously, but it's not that simple. Nothing is ever that simple with these movies though, as expected she’s been planning something big. A job that involves robbing the Metropolitan Museum of Art, but not the museum itself, but rather a particular item that is persuaded its way around the neck of the beautiful Daphne Kluger (Anne Hathaway). Known as the Toussaint, an infamous necklace painted with a French history that is fabricated with six pounds of diamonds and is valued at $150 million. With a crew of eight, that splits the prize at about $16.5 million each, a substantial enticement for anyone who needs anymore persuading beyond the challenge that lies ahead of them in this big, grand, con of the century.
The money is great, but that doesn’t seem to be the only incentive because these women all seem to share that same appetite for thievery that Debby Ocean (Sandra Bullock) and her family seem to have inherited almost organically. Lou (Cate Blanchett) is an old friend who's been with Debby (Sandra Bullock) since the start; she also shares some of the same connections she does to the old Soderbergh crew of swindlers. Amita (Mindy Kaling) is someone who can fake the jewelry but also lives with her mother whose constant harassment can be quite an enticement to try and steal your way to something better.
Constance (Awkwafina) and Nine Ball (Rihanna) are the two utility and necessary tools, one is that sleight of hand smuggler, and the other is the hacker. How they learned their trade or who they are beyond that is not very important to “Ocean’s 8,” as Rose Well (Helena Bonham Carter) and Tammy (Sarah Paulson) or any of the other members of the crew that aren’t Debby Ocean (Sandra Bullock) seem to be overlooked and treated as unimportant. It’s a glaring flaw in the middle of “Ocean’s 8” that showcases the lack of style or nuance presented by Gary Ross, who also assisted Olivia Milch in writing the screenplay. The cast feels consistently mishandled, which for a film that is meant to use the sly socio-political messages of feminism to be the little jabs underlying this brash but familiar story, this misuse of the cast seems to be something that directly refutes the notions presented.
Sister-hood is supposed to be something of pride, and it's something that is never heavily focused upon. If you're reading closely though, you may have noticed that the film is called “Ocean’s 8,” and I have only named seven members of the crew. Well, the eighth member is a bit of a surprise, that’s all I’ll say for now, but it's one of the many surprises that is fantastic. It’s one of the great things that Gary Ross borrows from the past four films in that the wonders that the heist includes, or the hidden cameos and twists of the narrative can be predictable, yet still feel invigoratingly enjoyable.
It’s almost like a mainstream horror movie in that way, in the sense that the film has twists that are predictable due to the expectational assumptions that are brought to a movie about stealing stuff. You know what’s coming next, but you still want to be a part of the ride, despite the predictability of it's best parts. It’s one of the aspects of “Ocean’s 8” that I was already signed up for, so, to no surprise, it was one of the many things that made me grin during my screening.
The other things that made me grin were the powerhouse of performances brought to the table by this ridiculously talented ensemble of women. Anne Hathaway plays this ditzy girl in hiding, whose obvious sex appeal, and pretty but dumb persona lends to her performance being one that is multi-faceted. Both in the way she is directly trolling her critics and in how she keeps you guessing as to what her importance is to the screenplay. Is she just the butt of the joke, or is she apart of the fun?
Sandra Bullock is magnificently charming and cunning. She has the dose of calmness and sternness that makes her seem as if she’s sleeping through her performance, but that’s the whole point of her character. This con isn’t her first, nor is it her last. She’s not going to have those rookie jitters; she’s a veteran and one of the best at what she does. Cate Blanchett shares remarkable chemistry with that facade of her character, continually dispensing her charisma all over the screen in a way that makes her feel like she’s giving far more to the role than the role is giving back to her. Rihanna and Awkwafina are the two comic reliefs of the group, something they excel at, and Sarah Paulson and Helena Bonham Carter are given roles that allow them to feel necessary, but never unique.
Someone who feels completely underused is Mindy Kaling, she’s such a talented actress, and one that deserves some more opportunities because she leaves a lot of her fingerprints on this film, unlike Gary Ross. Not only is his screenplay rather dull in that of the meat of what makes this story tick, but the visual language presented is something of mundane quality as well. He’s continuously showcasing these wide shots of New York City as if we forgot where this film was taking place, and his edits feel more like he’s mimicking Soderbergh, instead of making this franchise his own.
He plays second fiddle, not to these exceptional women, but to the man that made these films famous. At least the woman look incredible though, thanks to some impeccable costume design from Sarah Edwards who works alongside top designers such as Valentino and Naeem Khan, to name a few. She allows these women to embrace that feminine side of glitz and glamour, something that alongside the constant jabs of feminist pride, can become quite special to watch.
It’s a long con, pulled off by both the cast and the filmmaker behind them. “Ocean’s 8” is presenting itself as a female-led reboot of a film, one that has no unique attachments, but in all reality, it's just that. It’s a female-led film that has a unique touch because of its womanhood, something that doesn’t get brought to light enough by the “man” behind the camera. If only this film had a director with a woman’s touch, I might not be describing this film as almost great. I guess that might be the great con of it all, a movie about women, with no woman behind the camera, such a shame.