10 Movies Like Ocean's 11 You Need To See

A remake of the slick Rat Pack heist movie from 1960, Steven Soderbergh's 2001 version of "Ocean's Eleven" is a star-packed, stylish crime comedy with one of the best ensemble casts on screen. Headed up by Danny Ocean (George Clooney) and his old friend Rusty Ryan (Brad Pitt), the film focuses on a rag-tag group of con artists and criminals — each with a unique skill or talent to contribute — planning an elaborate con targeting three major Las Vegas casinos.

Heist movies or crime capers have been a cinematic staple since the 1950s, with "The Asphalt Jungle" often cited as the first example of the genre. Even more than 70 years later, they're still big business, and it's one of those genres that feels wonderfully nostalgic while also modern and fresh — with new technologies employed to make the heists bigger, better, and more intricate.

This one-upmanship can be seen in the "Ocean's" films alone, with the 2001 film followed by the sequels "Ocean's Twelve," "Ocean's Thirteen," and — just to break the sequential numbering — "Ocean's 8." Each of these films has seen the stakes raised and the dramatic tension increased. What keeps us coming back to heist movies is this idea that it could all go wrong incredibly quickly despite all the meticulous planning, and this proximity to danger keeps us on the edge of our seats. If you loved "Ocean's 11," these are 10 more movies that you need to check out.

Combining a thrilling gold heist, car chases, and beautiful Italian scenery, "The Italian Job" is one of the best examples of the genre and the standard that many subsequent films would aspire to. Michael Caine is Charlie Croker, an ex-prisoner who takes on the intimidating job of leading an elaborate heist to steal gold bullion from an armored truck. "The Italian Job" is a quintessentially British comedy crime caper, and it's positively packed with unforgettable moments and iconic quotes.

Despite there being more than 30 years between "Ocean's 11" and "The Italian Job," they share similar qualities with their charismatic leading men in George Clooney and Michael Caine, respectively, and the effortless "cool" factor that both films have in abundance. Driving forms a large part of "The Italian Job," and you'll never see the classic British Mini Cooper car look as stylish as it does here, particularly in the narrow streets of Turin.

While the film is a fun and thrilling ride from start to finish, it's perhaps the final scene that sticks with people the most, closing with a legendary cliffhanger ending — in more ways than one. With a successful remake in 2003, plus plans for a TV series, the legacy of "The Italian Job" continues to endure, and its status as a classic of British cinema was cemented with the British Film Institute placing it 36th on their list of the 100 Best British Films.

Released in 2002, "Catch Me If You Can" is based on the unbelievable true story of Frank Abagnale Jr., who successfully impersonated a pilot, a lawyer, and even a doctor. Thanks to his chameleonic abilities, Abagnale cashed in millions of dollars worth of fraudulent checks — all before his 19th birthday. Depicted in the movie by the apparently forever-young Leonardo DiCaprio, the film unfolds as an entertaining cat-and-mouse game as Frank constantly outwits and evades the leading FBI investigator, Carl Hanratty (Tom Hanks).

Much like the tricksters in "Ocean's 11," Frank is incredibly charming and seemingly able to talk his way into — or out of — any situation that arises. What's perhaps most interesting about Frank is that he isn't really trying to hurt anybody or deliberately cause harm to people, he's just a kid struggling to cope with his parent's divorce, and he channels his frustrations into pretending to be anyone apart from himself. This makes him an incredibly likable and deeply relatable character, despite his misdemeanors.

"Catch Me If You Can" is tremendous fun, with a surprisingly lovely ending. Steven Spielberg's film was praised by critics, including Mark Dinning for Empire who said, "This is as sophisticated as modern moviemaking gets ... a shot of pure class straight into the heart of cinema." "Catch Me If You Can" also picked up two Oscar nominations for John Williams' jazzy score and Christopher Walken's heartbreaking supporting role.

Inspired by a New York magazine article by Jessica Pressler, "Hustlers" tells the story of a group of strippers who steal money from, and eventually drug, the Wall Street elite in order to amass vast wealth for themselves. In a similar way to "Ocean's 11" — although it possibly shares closer ties with the all-female "Oceans 8" — "Hustlers" is sexy, slick, and very glamorous while also never shying away from the hardships that lead these women to taking such drastic measures in the first place.

The women in "Hustlers" are all deeply relatable, and we see them struggle disproportionately compared to the men in the film. Many of them are raising children by themselves and struggling to find work outside of the nighttime scene. In one memorable moment, Destiny (Constance Wu) desperately tries to get a retail job but is turned away due to lack of experience, and she shares her frustration that the only way she could get retail experience is by getting a job in this industry. Similarly, Ramona (Jennifer Lopez) has to deal with the inconsiderate manager of the store she works in, one who won't allow any flexibility for her to look after her daughter.

In the hands of director Lorene Scafaria, "Hustlers" never looks down on these women, regardless of the choices they make, and this is an incredibly refreshing point of view. While what they do is questionable, the audience completely understands how they got there, and this is crucial to the film's success.

Released in 2008, "21" follows six skilled students as they learn the art of card counting and how to use this to their advantage to take millions in winnings from Las Vegas casinos. With both "21" and "Ocean's 11" set largely in Sin City — and with the target being the casinos — there are certainly some clear similarities between the two films while they also focus on two very different techniques to get the money.

What's fascinating about "21" is that the practice of card counting itself is not illegal, although as this article in Detroit Free Press expands, that's "as long as players don't use any external card-counting device or people who assist them in counting cards." Of course, for legitimate gamblers, it's not considered the fairest of practices, and casinos employ extra measures, such as heavy surveillance and monitoring, in order to prevent it. This adds a certain degree of moral ambiguity to "21," and the film explores how the accumulation of money then leads to much more illegal practices.

"21" received mixed reviews from critics, with many saying it didn't make enough of the fascinating true story that inspired it. In fact, the film bears very little resemblance to the truth at all. That being said, it's still a largely entertaining, and at times intriguing, film about how far someone may be willing to go when it comes to amassing a fortune.

With an almost constant musical soundtrack, "Baby Driver" has a vibrancy and energy that really sets it apart from other films in this genre. Directed by Edgar Wright, the film employs a similar stylish edge that made "Ocean's 11" so memorable, but it dials the volume all the way up, making for a breathless experience. The film focuses on getaway driver Baby (Ansel Elgort), who combats his tinnitus by being perma-attached to his headphones, with the music also providing the soundtrack for his escapades.

Although his largely apathetic facial expressions rarely give away his true feelings, Baby doesn't seem to mind his life of crime. However, when he meets Debora (Lily James), this all changes, and he starts to question whether a more law-abiding path would be right for him. However, when you're involved with the mob, it isn't that easy to just escape, and when Debora's life is at risk, Baby is soon coerced into a heist that seems doomed to fail.

"Baby Driver" was a real passion project for Edgar Wright, and it was something he'd been working on since the mid-'90s (via Entertainment Weekly). This passion ultimately shines through in "Baby Driver," and it feels like a film that only Wright could make. In the character of Baby, the film also manages to find new angles on classic heist tropes, and the getaway driver who wants to do just that — get away from this life in the fast lane — is something that makes it truly stand out.