Further Reading

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Last Updated on June 7, 2022, by eNotes Editorial. Word Count: 710

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Baumann, Paul. “Scorching the Screen.” Commonweal 116, no. 17 (6 October 1989): 529–30.

Baumann praises Soderbergh's gifts as a director as evidenced in sex, lies, and videotape.

Denby, David. “Hell-Raising Women.” New Yorker LXXVI, no. 15 (27 March 2000): 135–36.

Denby praises Soderbergh's straightforward approach in Erin Brockovich.

———. “Fast Track.” New Yorker 76, no. 40 (25 December 2000): 154–55.

Denby calls Soderbergh's Traffic “the most exciting and complexly imagined American movie of the year.”

Denzin, Norman K. “The Postmodern Sexual Order: Sex, Lies and Yuppie Love.” Social Science Journal 28, no. 3 (1991): 407–24.

Denzin discusses Soderbergh's sex, lies, and videotape and Rob Reiner's When Harry Met Sally in relation to a postmodern sexual order.

Doherty, Thomas. Review of Erin Brockovich, by Steven Soderbergh. Cineaste 25, no. 3 (2000): 40–41.

Doherty argues that the film Erin Brockovich is a star vehicle for Julia Roberts and that Soderbergh does a good job of showcasing her talents.

Heller, Scott. “Up in the Air.” American Prospect 12, no. 2 (29 January 2001): 30.

Heller argues that Soderbergh's Traffic fails to live up to its ambitious aims.

James, Nick. Review of Kafka, by Steven Soderbergh. Sight and Sound 4, no. 3 (March 1994): 42–43.

James complains that Soderbergh's Kafka is too matter-of-fact and that the conclusion is banal.

Johnson, Brian D. “Verbal Striptease.” Maclean's (25 September 1989): 61.

Johnson lauds Soderbergh's sex, lies, and videotape as a minimalist and intelligent film.

———. “Nightmare in Prague.” Maclean's (10 February 1992): 79–81.

Johnson argues that Kafka proves that the success of sex, lies, and videotape was no fluke.

———. “Firebrand Barbie.” Maclean's (20 March 2000): 71.

Johnson praises Soderbergh's spare direction in Erin Brockovich.

Kauffmann, Stanley. “A Star, a Stupidity.” New Republic 222, no. 4446 (3 April 2000): 24–25.

Kauffmann compliments Soderbergh's Erin Brockovich as an enjoyable movie that does not strive to be a “film.”

Kehr, Dave. “The Hours and Times: The (Film) World According to Steven Soderbergh.” Film Comment 35, no. 5 (September–October 1999): 40–44.

Kehr discusses how Soderbergh's work bridges the gap between small, independent films and studio blockbusters.

Lane, Anthony. “Jack Be Quick.” New Yorker XXIV, no. 18 (6 July 1998): 78–79.

Lane offers a positive assessment of Out of Sight.

———. “In a Lonely Place.” New Yorker LXXV, no. 30 (11 October 1999): 106–07.

Lane argues that the best parts of The Limey are the flashbacks to Wilson's past taken from another film.

Minsky, Terry. “Hot Phenom: Hollywood Makes a Big Deal Over Steven Soderbergh's sex, lies, and videotape.Rolling Stone, no. 552 (18 May 1989): 81–88.

Minsky discusses the publicity and hype surrounding Soderbergh's first film sex, lies, and videotape.

Monet, Cristina. “Waiting for Real Life to Kick In.” Times Literary Supplement, no. 5106 (9 February 2001): 19.

Monet compares Soderbergh's Traffic to the original British miniseries on which it is based.

Moore, Suzanne. “Not Being There.” New Statesman & Society 2, no. 67 (15 September 1989): 44.

Moore praises the intelligence and humor of Soderbergh's sex, lies, and videotape.

Morrone, John. “Faith, Hope and Sexuality.” New Leader (2 October 1989): 20–21.

Morrone compliments the minimalist underpinnings of Soderbergh's sex, lies, and videotape.

O'Hehir, Andrew. Review of Traffic, by Steven Soderbergh. Sight and Sound 11, no. 2 (February 2001): 53–54.

O'Hehir discusses the virtues and flaws of Soderbergh's Traffic.

Porton, Richard. Review of Traffic, by Steven Soderbergh. Cineaste 26, no. 3 (2001): 41–43.

Porton complains that Traffic is a missed opportunity which fails to explore America's drug policy with any depth.

Rafferty, Terrence. “Lies, Lies, and More Lies.” New Yorker LXV, no. 25 (7 August 1989): 73–75.

Rafferty offers reserved praise for sex, lies, and videotape.

Robinson, Sally. “‘What Guy Will Do That?’ Recordings of Masculinity in sex, lies, and videotape.Genders 21 (Spring 1995): 141–67.

Robinson analyzes the ways in which Soderbergh redefines masculinity in sex, lies, and videotape.

Rosen, Gary. “Traffic and the War on Drugs.” Commentary 111, no. 4 (April 2001): 45–48.

Rosen argues that Traffic is an important movie and discusses the implications of the movie's messages concerning the war on drugs.

Seidenberg, Robert. “sex, lies, and videotape: Soderbergh's Fibs on Films.” American Film 14, no. 6 (April 1989): 76–77.

Seidenberg discusses the autobiographical elements of sex, lies, and videotape.

Soderbergh, Steven, and Harlan Jacobsen. “Truth or Consequences.” Film Comment 25, no. 4 (July–August 1989): 22–24, 26–28.

Soderbergh discusses his development of ideas for sex, lies, and videotape and his experiences during the 1989 Cannes Film Festival.

Soderbergh, Steven, and Mim Udovitch. “Steven Soderbergh.” Rolling Stone, no. 866 (12 April 2001): 120–23.

Soderbergh discusses his career and the pleasures of success.

Torrens, James S. “A Harsh Light.” America 184, no. 4523 (2 April 2001): 21–22.

Torrens discusses the disturbing portrait of the war on drugs as presented in Traffic.

Additional coverage of Soderbergh's life and career is contained in the following sources published by the Gale Group: Contemporary Theatre, Film, & Television, Vols. 11, 36, and Literature Resource Center.