It’s easy to think of the breezy caper as a fun subgenre of filmmaking that doesn’t have a whole lot to say. That’s generally true, but Soderbergh treats this whole thing as a capital‑B capital‑C Breezy Caper. He elevates the genre with a sense of panache and clockwork editing, and gets career-defining performances out of everybody here (Elliot Gould is the best and I’ll hear no arguments).
Better with every viewing, even decades later.