DID YOU READ

Tim Grierson on the Brilliant Career of Steven Soderbergh

Steven-Soderbergh

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When people list their favorite filmmakers, their choices are obviously based partly on liking those directors’ movies but, beyond that, I would guess it’s also because they identify with the themes and attitudes expressed in those films. To be entirely stereotypical, most fans of Quentin Tarantino probably don’t behave or dress much like fans of Woody Allen — or of Jon Favreau, Michael Haneke, Kelly Reichardt, Apichatpong Weerasethakul. Like picking a favorite Beatle or declaring oneself Team Edward or Team Jacob, we’re telling the world less about the people we’re choosing between and more about who we are and what we value.

I haven’t liked all of Steven Soderbergh’s films, but his career — the way he conducts himself artistically and professionally — is something I greatly admire. More than his movies, I really just love him. So, as you could imagine, I’m very sad that he’s serious about retiring from filmmaking. He’s releasing the thriller “Side Effects” on Friday, and then his Liberace biopic “Behind the Candelabra” will come to HBO. And then that’s it.

Soderbergh arrived on the scene in 1989 with “Sex, Lies, and Videotape,” which famously wowed Sundance in January of that year and then won the Palme d’Or at Cannes in May. He was all of 26 and was quickly embraced as the Next Big Thing. In a Rolling Stone profile from that time, he came across as something of a hot shot: the outsider who had moved to Los Angeles, found little success, returned home to Baton Rogue defeated, decided to give Hollywood one more chance, and wrote the “Sex, Lies” script in a week while driving back West. Now the conquering hero, he called “Top Gun” producers Don Simpson and Jerry Bruckheimer “slime” and “just barely passing for humans” in the Rolling Stone piece. He made disparaging comments about another up-and-coming director, Phil Joanou, who had segued into soft commercial movies like “Three O’Clock High.” (“Soderbergh has given instructions that he be shot on sight if he ever makes a movie about high school,” wrote profiler Terri Minsky.)

But you also got the sense that Soderbergh’s criticisms of others were a way to keep himself grounded amidst all the hoopla surrounding “Sex, Lies.” “I’m still a schmuck like everybody else,” he said. “I have problems, just like anyone. There are people who get to make movies who are fucking assholes, who are terrible people. Okay, I know I’m not a terrible person. It’s just that this attention — it’s potentially harmful, and it has so little to do with sitting in a room and trying to write, trying to make something good and make something work. It has nothing to do with that.”

“Sex, Lies” made almost $25m — an impressive total for a low-budget indie — and Soderbergh seemed well on his way. But after all the hype, he struggled. His follow-up film, “Kafka,” was a commercial and critical disappointment. The period drama “King of the Hill” was lovingly told but made no money. (It did, however, open the door for young stars Adrien Brody and Katherine Heigl.) And his thriller “The Underneath” was a misfire that had brains but sank like a stone at the box office. At 32, Soderbergh seemed to be in danger of being forgotten, just like all the other Next Big Things he had lamented in that Rolling Stone article who had come before him.

Then, Soderbergh did something incredibly nervy. Rather than committing to a sure career-revitalizing project, he made “Schizopolis,” a bizarre, surreal little comedy (starring him) that satirized suburban malaise, office politics and its own irrelevance. It felt like a stunt — the sort of thing you do when you decide that you’re ready to burn every bridge and alienate everybody who ever liked you. And for that reason, it’s fascinating, although at the time it seemed like this clearly smart and talented filmmaker was walking away from Hollywood for good.

Of course, that didn’t happen — he was merely gearing up for his second act. In the summer of 1998, he returned with “Out of Sight,” which helped put him back on the map but also launched George Clooney. We forget this now, but this thriller (adapted from the Elmore Leonard novel) was equally important for both men: If Soderbergh was trying to reverse his trajectory, Clooney was trying to prove that his post-“E.R.” film career was viable. (He’d been in the very mediocre “The Peacemaker” and the truly awful “Batman and Robin.”) I have to confess that, at the time, I didn’t get “Out of Sight.” After my first viewing, I thought it was too clever for its own good — certainly stylish and confident, but lacking much soul. Seeing it again a few weeks later, I embarrassingly realized I’d missed the boat. Coolly elegant and expertly paced, it was far smarter than I’d realized. I vowed never to underestimate Soderbergh again. (And I kept an eye on him and Clooney, who went on to form a production company together, Section Eight, which oversaw great films like “Far From Heaven,” “Insomnia,” “Syriana” and “Michael Clayton.”)

Blessed with a second chance, Soderbergh didn’t disappoint. He went from low-budget noir thrillers (“The Limey”) to superb, heartfelt mainstream entertainments (“Erin Brockovich”) to possibly his best film of all, “Traffic,” a perfect distillation of his intelligent, emotionally subdued style for a wholly devastating look at a group of characters who are in one way or another trapped in the web of drug addiction. Watching him win the Best Director Oscar for “Traffic” in early 2001, it was impossible not to think that this was the same man who, just four years prior, had put out “Schizopolis,” when everything seemed so bleak.

Armed with an Academy Award, he has hardly slowed down. If anything, he’s only gotten more interesting as a filmmaker. Since then, he hasn’t made one dull movie — he’s made less-than-great ones (“Full Frontal,” “The Good German”) — but he’s never lacked for intriguing ideas. Soderbergh grew up playing baseball — he was once a promising pitcher — and there’s something about that sport’s celebration of the day-in/day-out grind that seems to have stayed with the filmmaker. He just goes out and does the work, treating each project with as much care and thoughtfulness as he can. As he mentioned in a recent New York interview, “Any movie I’ve made has been because of the challenge it offered me as a director, because it provides a new canvas. Even the big-budget stuff like the ‘Ocean’s’ films.” In fact, it was his idea to do sequels to “Ocean’s Eleven” — not the studio’s. “They didn’t care. We kind of had to talk them into it. Those movies provided a really unique set of opportunities visually. They’re not easy for me to make. The first ‘Ocean’s’ was, directorially, a lot harder than ‘Traffic.’ Not even close. But they allowed me to play in a way the other movies don’t. It’s the closest to a comic book as I’ll ever get — I viewed them as like Roy Lichtenstein panels, which was really fun. And I’m very happy with them visually. When you look at what passes for a tent pole now, the ‘Ocean’s’ movies are pretty gentle in terms of their spirit, and I like that about them.”

I do, too. All three of the “Ocean’s” films have a bounce and freedom that you don’t see from big-budget studio movies. Soderbergh is sometimes criticized for his “cold” movies, but how, then, do you explain what fun the “Ocean’s” films are? To this day, Soderbergh comes across as a dry, cerebral fellow in interviews — the braininess of his youth remains — but it’s only helped give his films an undeniably hip patina. Whether it’s “The Informant!” or “The Girlfriend Experience” or “Contagion” or “Che,” his movies give off a sense that they’re trying to rethink their genres, trying to find new ways to express familiar sentiments. And as to this nonsense that his movies are overly chilly or withdrawn, who else could have turned “Magic Mike” into both a really fun time and also a poignant look at a young man (Channing Tatum) finally shedding his Peter Pan complex and growing up?

As Soderbergh’s gotten closer to 50, the age he said he wanted to give up filmmaking for painting and other pursuits, he’s been jumping from movie to movie, worried less about grand statements than crossing genres off his bucket list. What a blast “Haywire” was. What elegant paranoia dripped from “Contagion.” (And if you haven’t seen “And Everything Is Going Fine,” his 2010 documentary tribute to celebrated monologist Spalding Gray, a longtime friend of Soderbergh’s, it’s deeply moving.) This is not a man who should be retiring — he seems at the peak of his powers, making one distinctive film and then moving on to the next. He’s my kind of filmmaker. He just works. He does the best he can at that moment, and then he throws all his energy into the next one. Leave the legacy talk for others to sort out.

If “Side Effects” is his final feature, it’s a fitting sendoff. It’s smart, it’s shrewd, and it goes its own way. I liked it, but in my review I noted my reservations, which included, I now see, a criticism that it’s “ultimately too clever for its own good.” I’ve been here before with Soderbergh. I was wrong then — at this stage of his fine, fine career, I’m not entirely positive I’m not wrong now. But what I do know for sure: I’ll miss his movies. And I’ll miss him making them.

You can follow Tim Grierson on Twitter.

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Holiday Extra Special

Make The Holidays ’80s Again

Enjoy the holiday cheer Wednesday December 21 at 10P on IFC.

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Photo Credit: Everett Collection

Whatever happened to the kind of crazy-yet-cozy holiday specials that blanketed the early winter airwaves of the 1980s? Unceremoniously killed by infectious ’90s jadedness? Slow fade out at the hands of early-onset millennial ennui? Whatever the reason, nixing the tradition was a huge mistake.

A huge mistake that we’re about to fix.

Announcing IFC’s Joe’s Pub Presents: A Holiday Special, starring Tony Hale. It’s a celeb-studded extravaganza in the glorious tradition of yesteryear featuring Bridget Everett, Jo Firestone, Nick Thune, Jen Kirkman, house band The Dap-Kings, and many more. And it’s at Joe’s Pub, everyone’s favorite home away from home in the Big Apple.

The yuletide cheer explodes Wednesday December 21 at 10P. But if you were born after 1989 and have no idea what void this spectacular special is going to fill, sample from this vintage selection of holiday hits:

Andy Williams and The NBC Kids Search For Santa

The quintessential holiday special. Get snuggly and turn off your brain. You won’t need it.

A Muppet Family Christmas

The Fraggles. The Muppets. The Sesame Street gang. Fate. The Jim Henson multiverse merges in this warm and fuzzy Holiday gathering.

Julie Andrews: The Sound Of Christmas

To this day a foolproof antidote to holiday cynicism. It’s cheesy, but a good cheese. In this case an Alpine Gruyère.

Star Wars Holiday Special

Okay, busted. This one was released in 1978. Still totally ’80s though. And yes that’s Bea Arthur.

Pee Wee’s Playhouse Christmas Special

Pass the eggnog, and make sure it’s loaded. This special is everything you’d expect it to be and much, much more.

Joe’s Pub Presents: A Holiday Special premieres Wednesday December 21 at 10P on IFC.

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It Ain't Over Yet

A Guide to Coping with the End of Comedy Bang! Bang!

Watch the final episodes tonight at 11 and 11:30P on IFC.

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After five seasons and 110 halved-hour episodes, Scott Aukerman’s hipster comedy opus, Comedy Bang! Bang!, has come to an end. Fridays at 11 and 11:30P will never be the same. We know it can be hard for fans to adjust after the series finale of their favorite TV show. That’s why we’ve prepared this step-by-step guide to managing your grief.

Step One: Cry it out

It’s just natural. We’re sad too.
Scott crying GIF

Step Two: Read the CB!B! IMDB Trivia Page

The show is over and it feels like you’ve lost a friend. But how well did you really know this friend? Head over to Comedy Bang! Bang!’s IMDB page to find out some things you may not have known…like that it’s “based on a Civil War battle of the same name” or that “Reggie Watts was actually born with the name Theodore Leopold The Third.”

Step Three: Listen to the podcast

One fascinating piece of CB!B! trivia that you might not learn from IMDB is that there’s a podcast that shares the same name as the TV show. It’s even hosted by Scott Aukerman! It’s not exactly like watching the TV show on a Friday night, but that’s only because each episode is released Monday morning. If you close your eyes, the podcast is just like watching the show with your eyes closed!

Step Four: Watch brand new CB!B! clips?!

The best way to cope with the end of Comedy Bang! Bang! is to completely ignore that it’s over — because it’s not. In an unprecedented move, IFC is opening up the bonus CB!B! content vault. There are four brand new, never-before-seen sketches featuring Scott Aukerman, Kid Cudi, and “Weird Al” Yankovic ready for you to view on the IFC App. There’s also one right here, below this paragraph! Watch all four b-b-bonus clips and feel better.

Binge the entire final season, plus exclusive sketches, right now on the IFC app.

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Everybody Sweats Now

The Four-Day Sweatsgiving Weekend On IFC

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This long holiday weekend is your time to gobble gobble gobble and give heartfelt thanks—thanks for the comfort and forgiveness of sweatpants. Because when it comes right down to it, there’s nothing more wholesome and American than stuffing yourself stupid and spending endless hours in front of the TV in your softest of softests.

So get the sweats, grab the remote and join IFC for four perfect days of entertainment.

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It all starts with a 24-hour T-day marathon of Rocky Horror Picture Show, then continues Friday with an all-day binge of Stan Against Evil.

By Saturday, the couch will have molded to your shape. Which is good, because you’ll be nestled in for back-to-back Die Hard and Lethal Weapon.

Finally, come Sunday it’s time to put the sweat back in your sweatpants with The Shining, The Exorcist, The Chronicles of Riddick, Terminator 2, and Blade: Trinity. They totally count as cardio.

As if you need more convincing, here’s Martha Wash and the IFC&C Music Factory to hammer the point home.

The Sweatsgiving Weekend starts Thursday on IFC

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