the cinematography is bananas. I like it better than In The Mood For Love, really.

And yeah, it's about gay men -- who cares.

I've also seen the original Solaris. It's good, but I think I like Soderbergh's better. He condensed it and made it much more visually appealing.

Full Frontal is only noticeable because it's one of the few movies shot entirely on digital that has some memorable camera shots for me. If I ever shoot something on digital, I'm going to be watching that a lot to rip off the look. The supposedly cinematic film that goes on in-between also has intentionally bad cinematography, which STILL looks better than most bad cinematography.

The Ocean's are really nothing but big show-off pieces for his camera work, 12 in particular because it REALLY sucks minus the camera work. Still, I keep meaning to watch it again because JESUS what camera work.

Other favorites not listed are Malick and his unabashed admirer David Gordon Green and his cinematographer Tim Orr. All three of DGG's movies are brilliantly shot, I'm just hoping he does something outside of his comfort zone with the next one (his southern gothic motif has been pretty well mined for me after three films).

I don't know enough about classic cinematography. I need to watch more of those.