The thrills are in hard-driving, good-humoured command of its own silliness.
Itís undeniably entertaining with the misfires never fully overshadowing the moments of glory.
Allen Hughesís thriller trots out several familiar genre components.
The film somehow fails as a star vehicle, a recession-era satire or a WTF white-collar-grunt revenge tale.
'Oblivion' suggests the apocalypse may not be all bad news.
An unexpectedly sublime mid-film Himalayan wire-fu sequence is one of the two reasons to watch this.
Both about derivatives and consciously derivative, the movie finds Soderbergh riffing on Hitchcock.
Thereís Stockholm syndrome, and then thereís cosying up to the monster who ate your sweetheart.
For all its digressive, episodic and frequently ludicrous nature, this is a blazing return to form.
What it lacks, rather like Oscar himself, is any authentic magic.