An underrated, lovable sequel that's Soderbergh's French New Wave movie on a Hollywood budget. Shot in Europe with as much film grammar and retro-ness as possible; freeze frames, zooms, dollys, cross-cutting, hand held, location shooting, flashbacks, intertextuality, format changes, 4th wall breaks, false starts, smash cuts, misdirection, absurd plotting, celeb cameos, meta-ness, 0 fucks given whether you can keep up
More enjoyable than the first one, IMO. Whether it is actually the case or not, it feels like everyone involved is just freewheeling and having a good time doing it. Where the story/acting of the first felt forced, this one feels the opposite. Almost like they themselves are making fun of the ridiculous story as they go. And I still love Soderbergh's direction, particularly his use of color and filters. 4/5.
One of Soderbergh's most blatantly experimental films, made all the more remarkable for being produced by a major Hollywood studio, is also one of his best. As Chris McEwen states below, the film is a post-modern melange of Lester's comic surrealism with Godard's playful deconstruction, but filtered through Soderbergh's continual experiments with technique (colour, composition, style, structure). An audacious film!
Convoluted, indulgent and borderline avant-garde, but I still think it's kind of amazing. It almost feels like a prank from Soderbergh and company, hustling 100 million out of a major studio to take a European vacation and make what is essentially an art-house caper scored by electronic and underground hip-hop.