The Laundromat (2019)
Directed by Steven Soderbergh
When a widow gets swindled out of insurance money, her search for answers leads to two cunning lawyers in Panama who hide cash for the superrich.
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3 films that influenced The Laundromat
What critics say influenced The Laundromat
One moment, Soderbergh and friends attempt to recapture the magic of films like The Big Short; complicated issues handled with a wink and a smile as they mesh playful interaction with concise descriptors of what exactly occurred.
Con un estilo reminiscente al de cintas como The Big Short y Vice, el director Steven Soderbergh (Traffic, Erin Brockovich) expone en The Laundromat (La Lavandería) uno de los escándalos fiscales más grandes a nivel internacional.
“The Big Short,” Adam McKay’s 2015 film about the financial crisis that ushered in the Great Recession, is an obvious precedent.
The most successful recent film in this didactic form—essentially fictionalized Michael Moore movies—was probably Adam McKay’s The Big Short, about a particularly cynical exploitation of the late-aughts financial crisis.
The Laundromat, The Big Short-esque collection of celebrity-laden vignettes explaining the ins and outs of a recent financial crisis, is a showcase for Steven Soderbergh’s vim and vigor.
The 2015 Oscar-nominated financial crisis satire The Big Short covered similar territory with sharper focus and better results.
After all, her thick accented English ( Vanity Fair compared it to Hank Azaria’s laughable Guatemalan-in-name-only accent in The Birdcage ) does a lot of the work of making the character not look too out of place in the scenes at the Panama law firm at the heart of the movie.
It is now six years since Steven Soderbergh, then only 50, announced his retirement from cinema, and two years since he decided he wasn’t retiring after all and made Logan Lucky .
His three ‘Oceans‘ films, “Out of Sight,” and most recently “Logan Lucky” all sit squarely in that area, and—though it might seem counterintuitive to begin with—they also perfectly pave the way for the energetic filmmaking of his latest jaunty, globetrotting romp “The Laundromat.”
The first is the more mainstream film that follows a simplistic screenplay with engaging characters in the same vein of Logan Lucky or Magic Mike .
The heist-movie genius who won’t ever top Ocean’s Eleven but can still deliver, say, a silly lightning-bolt thrill like Logan Lucky’s George R.R. Martin–based prison riot .
Since then the 56-year-old film-maker has directed a celebrity biopic (Behind the Candelabra), an award-winning TV series (The Knick), a heist movie with Daniel Craig ( Logan Lucky ), a psychological thriller shot on an iPhone ( Unsane ) and a tense basketball drama ( High Flying Bird ).
Upon reflection, “The Laundromat” is essentially a real-life version of the elaborate heist movies that Soderbergh has dabbled in from time to time like the “Ocean’s Eleven” trilogy and the underrated “Logan Lucky”—like those films, it involves guys who create implausibly complex scams in order to get rick at the expense of others and get away with it in the end, with the only difference being that it is the ostensible bad guys doing the scamming.