About
Haywire

Soderbergh's first 'miss' since The Good German. I suspect the problem here (as well as there) is that this is a genre that demands some level of connection; something needs to be at stake. There's something almost perfunctory about the use of the plot here, almost secondary, as if S.S. is just using it as an excuse to show off his various formalist strategies; a jump-cut here, some black and white there, let's try this with music, now without, etc. The balance was perfect in his last few movies - 'form' and 'content' perfectly interwoven; a beautiful accord - but here it never really develops into something of substance.