![]() ![]() Two movies in, Soderbergh’s HBO Max batting average is already pretty stunning. ![]() The Verdict: This is a great-looking, propulsive piece of entertainment for grown-ups that’s all the more impressive following up the more reflective Let Them All Talk. Imagine if Killing Them Softly, which this movie vaguely resembles, ended with informative on-screen text instead of a killer exit line. That said, this movie was quickly assembled last fall mid-pandemic, and there are a few points where Soderbergh and Solmon’s work feels slightly rushed: a few modern colloquialisms intrude (people probably weren’t using literally for emphasis quite so often in 1955), the schemes within schemes grow harder to follow (and less wittily delivered) in the second half, and Soderbergh’s late-career tendency to deal directly in polemic slightly neutralizes some of the movie’s punch. (One of Ronald’s early lines sums things up nicely: “I think you have ulterior motives, but I find that sexy.”) The dialogue in Ed Solomon’s screenplay isn’t exactly hard-boiled, but it’s swift and concise, with a wryness that never sounds too quippy, especially in its first hour. Let Them All Talk: Though it’s far from a comedy, this may be the funniest Soderbergh movie since Logan Lucky. But No Sudden Move has some additional visual flourishes, reflecting its noirish bent few directors are so adept at drawing out color and shadow from digital imagery. After embracing digital cinema and even shooting a bunch of movies with an iPhone, the director has certain visual signatures that are more prominent than ever: Sickly yellow interiors the camera pivoting to follow its subjects, rather than tracking with them and, more recently, a frequent use of fish-eye lenses that distort figures at the edge of the frame. No Sudden Move is somehow both a stylized genre exercise and part of a larger, less rigidly controlled tapestry that reveals itself as it goes.Įmphasis on Move: Of course, that doesn’t mean Soderbergh cedes control behind the camera. Though the movie ultimately minds its business about a lot of the personal affairs it brings up, it imbues its characters with a bounty of implied off-screen life. It’s probably 40 minutes in before most of the cast has been introduced, and every performer brings some kind of delight, whether it’s Cheadle’s slightly rasped-out voice, Fox’s cartoonish ‘50s-doll affectations, or Liotta’s trademark sputtering rage. HBO Max is bringing us No Sudden Move this weekend, so I need you all to let me know if you e. n starts with the simplicity of Don Cheadle walking down the street and into a building, and starts building up both its tension and its ensemble from there. This is my Spoiler Free No Sudden Move Movie Review on HBO Max. Soderbergh’s Big Score: Soderbergh loves the mechanics of a heist and how it goes wrong, from the glossy Ocean’s movies to the blue-collar Logan Lucky to his underseen noir The Underneath. ![]()
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