Totally agree. Soderbergh assumes himself as a sort of modern day Howard Hawks or Raoul Walsh, always experimenting new forms and genres to develop ideas about contemporary life. His rising and subtle critique of capitalism constitutes the thematic link one might find missing between his so incredibly variants of style. Like in Oshima, his cinematic experiments allow him to express and critique reality with a liberty that classic film-makers didn't have: the difference between him and the japanese director is that Oshima hated classic cinema and Soderbergh plays a constant game of homage to the old masters of Hollywood. And that's beautiful to watch, especially in a talented and productive director as Soderbergh is.