Danny Ocean rounds up the boys for a third heist after casino owner Willy Bank double-crosses one of the original eleven, Reuben Tishkoff.Danny Ocean rounds up the boys for a third heist after casino owner Willy Bank double-crosses one of the original eleven, Reuben Tishkoff.Danny Ocean rounds up the boys for a third heist after casino owner Willy Bank double-crosses one of the original eleven, Reuben Tishkoff.
- Awards
- 1 win & 5 nominations
Storyline
Did you know
- TriviaMatt Damon's London street scene--showing Linus walking through London speaking on the phone--was shot while Matt Damon was in London filming "The Bourne Ultimatum". The Ocean's Thirteen production took advantage of this happy coincidence as they wanted the character Greco to be a British classmate of Roman Nagel. Thus Linus's being in London played well to the story.
- GoofsWhen Yen places a bet on the roulette wheel, he covers numbers 11,12 and 13, to fit in with the previous statement that the 'fixed' ball could be assumed to land on one of three numbers. 11,12 and 13 do not appear consecutively on a roulette wheel. If you wanted to cover a bet on '12', for example, you'd need to place chips on 12, 8 and 29 on an American table.
- Quotes
Terry Benedict: [referring to Danny donating Terry's share of the money to charity] You think this is funny?
Danny Ocean: Well, Terry, it sure as shit ain't sad.
- Crazy creditsEach of the logos from the studios involved in the opening sequence is colored a dull blue color, a throwback to the original studio cards from "Ocean's 11"
- Alternate versionsTwo versions are available, depending on your location, the original theatrical release and an edited cut in Croata. Runtimes are "2h 2m (122 min)" and "1h 54m (114 min) (Croatia)", respectively.
- SoundtracksDon't You Want Me
(1981)
Written by Jo Callis (as John Callis), Phil Oakey (as Philip Oakey), and Philip Adrian Wright (as Adrian Wright)
Performed by Martin Blasick
Featured review
Sexual Editing
Is this the most valuable franchise in film? Will it last for a decade?
I like Soderbergh. I even like him when he has no goal in the world but making money through simple entertaining.
I like him because he actually thinks about film. About the bullets the towels. The phrases and melodies.
Superficially, this has two overt components. One is the well established con form. The strict version is that we don't fully understand what is going on and "see" it only at the end. Then it all makes sense. This is a weaker version where we see some of the plotting and problems. This is where the jokes are.
The second overt component is simply coolness. Its the sort of coolness that Apple-inspired ad editing has given us, in opposition to the heavy rap-gangster intimidation-coolness of the last great sales cycle. This is referenced within the movie with a bit about an all American black jumper (with a Jewelled flag on his teeth). Its colorful, fast. The pace is translucent with the music. Vegas Cellophane. The actors are cool. Even Matt Damon, who knows cool, plays uncool with coolness.
But its the technique here that impresses. Shots have shape and how those shapes are modulated (as they usually are not) and then assembled with those shapes forming new ones, is a matter of unique style with this filmmaker. Look at how fertile soft ends are punctured by sharp beginnings so that the very passage of time in the eye here is a matter of conceptual copulation.
Look at how many shots end on one of those colored artificial flavors and create a romantic movie at the atomic level as if a John Coltrane was compressing a thousand easy ballads into a few moments. This takes knowledge and the filmmaker has to actually operate the camera to pull this off. It was in his "Limey" and not in the other Ocean's.
And it takes an editor who knows. The best editor was found fresh off "Babel" which among other variations, had the three segments vary on shotshape assembly. This matters. This is a five diamond film, yes?
Ted's Evaluation -- 3 of 3: Worth watching.
I like Soderbergh. I even like him when he has no goal in the world but making money through simple entertaining.
I like him because he actually thinks about film. About the bullets the towels. The phrases and melodies.
Superficially, this has two overt components. One is the well established con form. The strict version is that we don't fully understand what is going on and "see" it only at the end. Then it all makes sense. This is a weaker version where we see some of the plotting and problems. This is where the jokes are.
The second overt component is simply coolness. Its the sort of coolness that Apple-inspired ad editing has given us, in opposition to the heavy rap-gangster intimidation-coolness of the last great sales cycle. This is referenced within the movie with a bit about an all American black jumper (with a Jewelled flag on his teeth). Its colorful, fast. The pace is translucent with the music. Vegas Cellophane. The actors are cool. Even Matt Damon, who knows cool, plays uncool with coolness.
But its the technique here that impresses. Shots have shape and how those shapes are modulated (as they usually are not) and then assembled with those shapes forming new ones, is a matter of unique style with this filmmaker. Look at how fertile soft ends are punctured by sharp beginnings so that the very passage of time in the eye here is a matter of conceptual copulation.
Look at how many shots end on one of those colored artificial flavors and create a romantic movie at the atomic level as if a John Coltrane was compressing a thousand easy ballads into a few moments. This takes knowledge and the filmmaker has to actually operate the camera to pull this off. It was in his "Limey" and not in the other Ocean's.
And it takes an editor who knows. The best editor was found fresh off "Babel" which among other variations, had the three segments vary on shotshape assembly. This matters. This is a five diamond film, yes?
Ted's Evaluation -- 3 of 3: Worth watching.
helpful•1618
- tedg
- Jun 17, 2007
Details
- Release date
- Country of origin
- Official site
- Languages
- Also known as
- Ocean's 13
- Filming locations
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- $85,000,000 (estimated)
- Gross US & Canada
- $117,154,724
- Opening weekend US & Canada
- $36,133,403
- Jun 10, 2007
- Gross worldwide
- $311,312,624
- Runtime2 hours 2 minutes
- Color
- Sound mix
- Aspect ratio
- 2.39 : 1
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