Best of the Best: Steven Soderbergh

In a new feature, we count down the best work of a chosen filmmaker, actor, producer, and more, and why their work has had such an impact on the industry. First up, Nick Bartlett waxes lyrical about Steven Soderbergh, an award-winning filmmaker whose new film, Presence, is in cinemas now…

Steven Soderbergh is one of modern cinema’s most versatile and boundary-pushing directors. From intimate, character-driven dramas to big-budget ensemble films and even experimental, genre-defying projects, he is continually reinventing himself, refusing to be pigeonholed. What sets him apart is his ability to balance his artistic vision with mainstream appeal. He’s equally comfortable helming cerebral, experimental fare (Solaris, Schizopolis) as he is crafting crowd-pleasing hits (Ocean’s Eleven). A true auteur, Soderbergh often takes on roles as his cinematographer and editor, creating a distinct visual style all of his own. (He’s reportedly even been recruited by other directors to help finesse their films). 

Here’s our list of his ten best films…

10. Logan Lucky

Soderbergh’s return to filmmaking after a brief hiatus came in the form of Logan Lucky, a playful reinvention of the heist genre. Unlike the well-oiled plot mechanics of the Ocean’s Eleven films, this story subverts the traditional heist genre by focusing on the unlikeliest of criminal masterminds. The story follows hapless Jimmy Logan (Channing Tatum), a former football star sidelined by injury, and his brother Clyde (Adam Driver), a war veteran who lost part of his arm in Iraq. Facing hardships, the brothers plan to rob the Charlotte Motor Speedway during a NASCAR race.

Soderbergh’s direction infuses the film with genuine warmth and humour, painting a portrait of West Virginian life that is both respectful and entertaining. The ensemble cast delivers standout performances, with Tatum and Driver portraying a believable sibling bond marked by loyalty and shared misfortune. Most impressively, is Daniel Craig as the flamboyant explosives expert, the improbably named Joe Bang. While Knives Out cemented Craig as a character actor, this was the dry run, the role that convinced audiences he had more range than just James Bond. His unlikely casting adds an extra dimension of unpredictability to the heist – it’s not for nothing the credits grant him an “introducing” credit.

Logan Lucky stands as a testament to Soderbergh’s ability to reinvent genre conventions, blending humour, heart, and sharp direction. It marked a triumphant return for one of cinema’s most versatile filmmakers, complete with the most perfectly executed Game of Thrones joke ever written.

9. Side Effects

When Soderbergh announced his retirement in 2013, it seemed to trigger a creative surge that saw him release a spate of genre pieces in quick succession. Among these, Side Effects stands out as an overlooked gem – an involving blend of paranoia and suspense that delivers incisive social commentary along with psychological thrills. Rooney Mara delivers a haunting performance as Emily, a vulnerable New Yorker battling depression as her insider-trading husband (Channing Tatum) nears release from prison.  At the urging of her psychiatrist (Jude Law), she begins a course of experimental anti-depressants, when tragedy strikes, Emily becomes embroiled in a murder trial that calls the drug, her psychiatrist, and her mental state into question. 

The shadow of Hitchcock looms large over the film, but Soderbergh is more concerned with exploring the themes of the master of suspense than lifting sequences wholesale. Throughout he revisits themes of deception, shifting identities, and the “wrong man” plot trope. Law himself, the victim of a stitch-up, gives a brilliant portrayal of desperation, of someone who finds his reputation in tatters and is determined to unearth the truth.

The film oscillates between sharp social critique and a sleek paranoia thriller, where characters’ motivations are murky, and loyalties constantly shift. Its retro aesthetic and brisk pacing evoke 90s paranoia classics while delivering a scathing indictment of the pharmaceutical industry and healthcare system, themes Soderbergh would later explore in more depth in Unsane. By the film’s unsettling conclusion, even the supposed hero’s ruthless actions leave a lingering feeling of unease. Side Effects is a lean, efficient thriller with clever twists, vivid characterisation, and Soderbergh’s masterful direction—an underrated highlight of his career.

8. Magic Mike

At first glance, Magic Mike might seem like a straightforward crowd-pleaser about male strippers. However, under Soderbergh’s direction, it evolves into a surprisingly introspective and poignant exploration of the costs of instant gratification, fleeting fame, and a hedonistic lifestyle. Loosely inspired by Channing Tatum’s early experiences as a dancer, the film pairs its polished performances with a grounded, melancholic look at life behind the curtain.

Yes, Magic Mike delivers for thirsty audiences, with its oiled bodies and electrifying stage routines, but Soderbergh’s focus lies on the humanity beneath the glitz. Tatum’s Mike is a charismatic performer with dreams of leaving the stage behind to pursue a career in furniture-making. Yet, the allure of quick cash and instant gratification keeps pulling him back, creating a poignant tension between ambition and reality. Tatum utilises his experience as a dancer to deliver some impressive dances, but even more impressively, he delivers a nuanced, thoughtful performance, elevating Mike beyond a stereotype and making him a genuinely relatable protagonist.

Soderbergh captures both the highs and lows of the world with equal care. The showstopping performances are juxtaposed with moments of quiet desperation and the toll of living for the spotlight, where performers are caught in a cycle of easy money and reckless spending, only to face diminishing opportunities as they age out of the profession. Magic Mike is not just a celebration of its subject matter but a contemplative examination of it—bittersweet, unflinching, and deeply human. It ends up more sensitive and touching than I think anyone could have predicted. 

7. Kimi

A sleek, modern thriller that distills Soderbergh’s knack for precision storytelling into a taut, hour-and-a-half runtime, Kimi plays out like a modern-day take on Hitchcock’s Rear Window, with Zoe Kravitz as the agoraphobic tech worker who overhears a murder while reviewing audio data from a smart assistant. Kravitz shines as the film’s anchor, delivering a layered performance that’s equal parts vulnerable and resourceful. With her shock of blue hair and subtle mannerisms, she expertly embodies the anxiety of someone unable to leave her sanctuary. 

Soderbergh’s direction captures Angela’s isolation with measured, stationary shots that shift to frenetic movement when she steps outside, perfectly capturing her increasingly frantic headspace. When the narrative shifts into high gear, it culminates in an almost unbearably tense home invasion sequence where she can turn the tables on her would-be assassins that is expertly choreographed and undeniably gripping. Cliff Martinez’s alternately pulpy and soaring score heightens the tension, adding an edge to Soderbergh’s sparse yet elegant storytelling. A refreshingly straightforward premise, executed with precision, Kimi makes every moment count and is a testament to how much impact a tightly crafted thriller can deliver. This lean, modern update to Hitchcockian suspense is one of Soderbergh’s standout achievements.

6. Erin Brockovich

Erin Brockovich might be the most conventional film in Steven Soderbergh’s eclectic career, but it’s also one of his most enduring. A feel-good legal drama with a sharp edge, it owes much of its success to Julia Roberts’ career-defining performance as the titular heroine. Playing an unemployed single mother turned self-taught legal assistant, tackling a corporate giant responsible for polluting a town’s water supply.

What’s striking when watching the film today is its refusal to soften Erin’s rough edges, presenting her as a flawed yet deeply compassionate figure. The audience loves her from the start because a) she’s Julia Roberts, b) she is the underdog we all want to be, and c) she’s shown genuine care for the clients she represents. Soderbergh never shies away from showing how she rubs others the wrong way, sometimes deservedly so, sometimes… not so much. Roberts exudes charm, grit, and determination, and won a well-deserved Oscar for Best Actress for her performance. As her beleaguered lawyer turned boss, Albert Finney is a perfect counterbalance to Roberts, bringing warmth, humour, and gravitas to their partnership.

Soderbergh’s understated direction allows the emotional stakes to shine without veering into sentimentality. The result is a multilayered, flawlessly executed story that contrasts Erin’s triumphs with the broader, unglamorous fight for justice.

5. Ocean’s Eleven

Whenever the topic of good remakes comes up in conversation, the films listed are almost invariably The Thing, The Fly, and/or Invasion Of The Body Snatchers. Ocean’s Eleven rarely gets a mention, and it’s a pretty glaring omission. Soderbergh’s remake outclasses the Rat Pack original on pretty much every level, from the tight plotting and slick editing to the truly star-studded cast of actors who can, you know, act. 

There’s a kind of snobbery in film, that good films shouldn’t be fun – just look at how few comedies are nominated for major awards – and I think this has led to something like Ocean’s Eleven being underrated by audiences who see it as just a bit of fluff. Soderbergh’s lightness of touch keeps the film just the right side of smug, as he flits between different colour palettes and frame rates, playing with shot composition and more. It’s clever, fast-paced, and endlessly fun, and despite the fact the film is packed with directorial flourishes, he gives each character a clearly defined role that allows each member of the ensemble to shine. 

The real testament to how great this film is is that despite the numerous subsequent attempts to replicate the easy-going interplay between the characters, none have come close to capturing the charm, the coolness of this. The Clair de Lune sequence is up there with the greatest sequences in cinema; a surprisingly poignant moment that feels like a curtain call for the film. Despite its sequels falling short, the original Ocean’s Eleven remains cinematic gold, a stylish and immensely entertaining caper that’s both sophisticated and wildly fun.

4. Sex Lies & Videotape

It’s impossible to overstate the importance of Soderbergh’s directorial debut. At only 26, this film shot him to fame, winning the Palme d’Or at the 1989 Cannes Film Festival and earning Soderbergh his first Oscar nomination for best screenplay. It’s a deeply personal exploration of intimacy and repression that redefined independent cinema and remains potent, even as the titular technology has become obsolete. 

James Spader plays Graham, a disarming drifter whose presence disrupts the mundane domesticity of those he interacts with. Smarmy college friend John (Peter Gallagher), John’s dissatisfied wife Ann (Andie MacDowell), and her fiery sister Cynthia (Laura San Giacomo), who’s having an affair with John. Graham, with his mix of candour and quiet perversity, acts as both catalyst and voyeur, pulling apart the carefully maintained facades of those around him. He does this with his unconventional hobby – interviewing women on camera about their sex lives. It’s a fetish that masks his vulnerability, and Spader gives one of his more sensitive, intense performances in a role that would go on to define his later career, acting as the template for his more sensational roles in Crash and Secretary. 

Most filmmakers might balk at their first film being so often listed among their best, but there is something so earnest, and energetic about Sex Lies & Videotape that makes it stand out from his later, technically impressive work. Despite the provocative title, the film is a restrained, character-driven study of human connections. Soderbergh’s raw, unfiltered storytelling, combined with standout performances – especially from Spader and San Giacomo – makes this candid, deeply personal film a defining moment in his career and a masterclass in minimalist storytelling.

3. The Limey

One of Steven Soderbergh’s coolest films, The Limey is a simple story of revenge, told in a beautifully elliptical way. Originally envisioned for Michael Caine, the lead role instead went to Caine’s old flatmate Terence Stamp, who delivers a career-best performance as an English ex-gangster seeking vengeance for his daughter’s death. It’s not a particularly original premise, but Soderbergh brings a fresh perspective to the film, deploying just about the most fluid non-linear editing this side of The Prestige. Soderbergh’s editing is the film’s standout feature, making use of all the narrative tricks at his disposal – jump cuts, repeated shots, and montages – that combine to create a spellbinding, dreamlike quality, similar to John Boorman’s Point Blank.

It’s a film preoccupied with the past, with nostalgia. The central characters are all either trying to relive glory days, recapture their youth, or trying to escape recurring patterns of behaviour. Soderbergh tacitly acknowledges this with some editing tricks, incorporating footage of a much more youthful Terence Stamp from Poor Cow for flashback scenes. The casting is also very knowing, with Peter Fonda (best known for his work in the seventies) cast as the ostensible villain, and Barry Newman as his henchman – with nods to his cult classic Vanishing Point, particularly in a thrilling car chase sequence. 

Thematically, the film explores regret, cyclical behaviour, and the longing to escape one’s past, while stylistically it pushes boundaries with its inventive structure. With its razor-sharp editing, stellar supporting cast, and atmospheric style, The Limey transcends its genre roots, standing as one of Soderbergh’s boldest and most emotionally resonant works.

2. Traffic

Nobody seems to talk about Traffic anymore. It’s a shame because it’s Soderbergh’s most technically accomplished film, rivaling Paul Thomas Anderson’s Magnolia in the way it deftly weaves multiple intersecting storylines with remarkable clarity. 

Adapting the Channel 4 series Traffik, Soderbergh and writer Stephen Gaghan examine how drugs penetrate every echelon of society, from privileged suburbs to corrupt Mexican border towns. Each storyline is distinguished by its own colour palette, giving the film a striking visual identity and clarifying its complex structure. Soderbergh also coaxes excellent performances from his talented cast. Michael Douglas shines as a conservative judge forced to confront his views when his daughter becomes addicted to drugs, and Benicio Del Toro’s Oscar-winning portrayal of a conflicted, taciturn Mexican cop is restrained yet deeply affecting. Best of all though, is Catherine Zeta-Jones as the wife of an arrested drug lord, shifting from naïve socialite to ruthless survivor. 

Considering this is the film that won Soderbergh the Best Director Oscar, it’s pretty unconventional. The detached, observational direction avoids preachiness and offers no easy resolutions. The film briefly addresses the systemic failures by having Don Cheadle’s’ exasperated DEA agent have an emotional outburst at the drug lord’s mansion, before revealing his speech was just a ruse to plant a bugging device. For him, the work just carries on. Unflinching and thought-provoking, Traffic critiques the cyclical, inescapable nature of the drug trade, and remains a masterclass in provocative, socially conscious filmmaking.

1. Out Of Sight

Sometimes the obvious answer is also the correct answer. Soderbergh’s best film is also the best adaptation of Elmore Leonard’s work committed to the big screen, which is no mean feat when other contenders include Get Shorty and Jackie Brown. Soderbergh masterfully captures Leonard’s easy charm and sharp humour while also bringing his signature style. The result is a slick, effortlessly cool blend of romance, crime, and comedy that remains the career high for both Soderbergh and its stars.

The story follows Jack Foley (George Clooney), a charismatic bank robber, and Karen Sisco (Jennifer Lopez), a tough U.S. Marshal, whose paths cross when Jack escapes from prison. The two stars share perhaps the most palpable chemistry in modern cinema, making their love story both irresistible and grounded. Neither Clooney nor Lopez were established movie stars at this point, but both do some of their best work here. 

Clooney’s grounded performance Foley feels like a real guy, not just an impossibly charismatic fantasy – his account of wanting to retire, of how most thieves are morons, stays with you, and contributes to a well-rounded character. Lopez is genuinely great too – you never doubt that she would bring him in if it comes to it, and she has an authentic toughness that you rarely see on film. (“You wanted to tussle. We tussled.”) Their unlikely romance is the cinematic embodiment of what happens when an unstoppable force meets an immovable object and leads to a final, inevitable confrontation that never feels contrived. 

Everything lands perfectly, from the witty dialogue to the moral complexity of its heroes. It is deceptively sophisticated, with a non-linear narrative, sophisticated direction, and sharp editing that elevate the film, particularly the iconic, Don’t Look Now-inspired hotel room scene, which exudes sexiness while deepening the characters. Soderbergh makes all this look so effortless that it’s easy to overlook how sophisticated the filmmaking is. Soderbergh has several plates spinning at once, but it never feels strained or confusing.

Presence is in cinemas now