Billy Wilder made Ace in the Hole as a follow-up to the acclaimed Sunset Boulevard, essentially writing his own ticket in Hollywood. The story he opted to make was a cruel indictment of the American media, one which has only become more accurate and biting over the years. The film opens with reporter Chuck Tatum, a refugee from big city newspapers who's now stuck in a desolate New Mexico town. Desperate to get back on top (and earn enough money to feed his drinking habit), he stumbles upon the perfect story after toiling away for a miserable year in the sticks: A treasure hunter (a looter, if you will) has gotten stuck in a cave-in in some old Indian caves. Guy in a well: That'll sell papers, right?
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So why watch Sinatra and his 10 (not 11) ex-military buddies romp through their kinda town? Ocean's Eleven is the kind of movie you turn on and just hang out to, just like the Rat Pack would have done, as you enjoy a scotch and soda on a Saturday afternoon while Dean Martin croons "Ain't that a kick in the head..." in the background. Then you'd go bowling in an orange sweater to talk about the job. When it's over, you won't feel like you've bettered yourself in any way, but you might feel just an inch of kinship with a bygone era when Vegas was black tie-only and when a woman's place was in a distant, supporting role. (Just kidding, dames.)
Continue reading: Ocean's Eleven (1960) Review
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