Soderbergh seems to have found his vision again. It'll be a great day when he returns to writing his own material, but until then, this is none too shabby.
80
L.A. WeeklyElla Taylor
L.A. WeeklyElla Taylor
For sheer urbane elegance coupled with technical mastery and lush, old-fashioned élan, no one working for the studios today comes close to the versatile Soderbergh.
75
ReelViewsJames Berardinelli
ReelViewsJames Berardinelli
Enjoyable, and will likely appeal to anyone who appreciated the 2001 film.
75
PremiereGlenn Kenny
PremiereGlenn Kenny
Soderberg provides a cornucopia of fizzy, post–New Wave imagery, fitting for a picture that’s pretty much all about surfaces.
70
New York Magazine (Vulture)Ken Tucker
New York Magazine (Vulture)Ken Tucker
So fizzy it nearly fizzles out.
70
Village VoiceDennis Lim
Village VoiceDennis Lim
Funnier and sprightlier than Eleven, which exhibited a genial self-consciousness but never thought to challenge the genre textbook, Twelve is committed to not taking itself seriously.
70
The Hollywood ReporterKirk Honeycutt
The Hollywood ReporterKirk Honeycutt
Stephen Mirrione's fast-paced editing and David Holmes' pop-rock score propel the story ever forward whether one follows the twists or not.
This smooth inside job benefits from heightened bonhomie among the players, fab Euro locations and a diminished obligation to stick to the heist genre boilerplate.
60
NewsweekDavid Ansen
NewsweekDavid Ansen
Busier, messier and thinner than its predecessor...the studied hipness can get so pleased with itself it borders on the smug.
33
Entertainment WeeklyLisa Schwarzbaum
Entertainment WeeklyLisa Schwarzbaum
What's on screen is lazy, second-rate, phoned-in -- a heist in which it's the audience whose pockets have been picked.