Rupert Everett’s Blistering Take on the Ocean’s Franchise

Rupert Everett, known for his sharp tongue and knack for stirring the pot, has never shied away from sharing his thoughts on the state of the film industry. The same bloke who once described Madonna as a “whiny old barmaid” has, over the years, lobbed plenty of zingers at Hollywood heavyweights. While he’s not always been the critics’ darling—some say he’s his own worst enemy, others reckon it’s down to his sexuality—Everett’s never been short on opinions about the business he’s in.

One of his most eyebrow-raising takes came when he singled out a certain blockbuster series as a blight on global culture. In a chat with The Independent a few years back, Everett didn’t mince words about the Ocean’s films. He said,

“Clooney thinks that, provided he does films which are politically committed, he’s allowed to do Ocean’s Eleven, Twelve and Thirteen. But the Oceans movies are a cancer to world culture. They’re destroying us.”

At the time, his comments seemed a bit over the top. These days, with so much formulaic content and AI-generated scripts floating about, Ocean’s Eleven almost looks like an indie gem. But Everett was convinced that Clooney’s role in the slick heist flicks was just more proof that Hollywood—and the world—cared more about celebrity gossip than real issues.

Taking Aim at Hollywood’s Big Names

Everett’s rant didn’t stop with Clooney. He took a swipe at other big names, questioning why stars like Diane Keaton, Robert De Niro, and Al Pacino would “debase” themselves with family-friendly fare or become, as he put it, parodies of their former selves. He was especially scathing about Keaton’s turn in Because I Said So and called Pacino a “mad old freak now.” For someone who’s appeared in films like St. Trinian’s and lent his voice to Shrek, it’s a bold move to take the mickey out of such icons.

Still, Everett’s criticisms, while a bit rich coming from him, aren’t entirely off the mark. Many legendary actors have ended up in roles that seem a far cry from their earlier, more serious work. Everett, for all his bluster, seems to know he’s part of the same cycle, often using “we” when talking about the decline of culture.

Self-Awareness and the State of the Industry

Despite his harsh words, Everett doesn’t pretend he’s above it all. He’s copped his fair share of criticism, especially after being let go from the much-maligned Emily in Paris. Yet, he keeps calling out what he sees as the industry’s slide into mediocrity, even if he’s not immune to it himself. There’s a sense that he’s in on the joke, aware that he’s both critic and participant in the very trends he laments.

With so much talk about the death of culture and the rise of bland, safe entertainment, it’s almost refreshing to hear someone argue that a film like St. Trinian’s did more for the art form than Ocean’s Eleven. For those who grew up on early 2000s coming-of-age flicks, that might not sound so far-fetched.