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• No sudden move movie#

But, despite the trappings of the genre, this movie exceeds expectations thanks to the caliber of acting on display. Yes, after the requisite double and triple-crosses, there is something of a message baked into the ending of the story. No Sudden Move works as well as it does because Steven Soderbergh keeps the pace fast and loose with a story that does not try to do more than entertain.

While the majority of the film centers on Del Toro and Cheadle, both of whom are excellent here, we also get knockout scenes from Kieran Culkin in a role much different to his character on Succession, David Harbour in a much more subdued performance than he usually gives, and a fantastic cameo that I will not spoil for you here. It never overshadows what you see on screen nor does it drown out these great actors, all of whom get multiple opportunities to be showcased. The jazz-inspired score, like any great soundtrack, is good enough to listen to independently of the film, but within the movie, it adds a perfect enhancement to the mystery elements of the movie. The film also has a great score by David Holmes, a frequent Soderbergh collaborator going back to 1998's Out of Sight. Aside from the cars and some clothing, the movie could have been set in the present day. Aside from that, the movie has great visual quality and never forces period references to the story being set in 1954. While it does not impact the narrative, I did find myself often distracted by it as I watched the movie. Many of the wide shots have a fish eye quality to them which distorts the extremes of the image. The frame is constantly crisp and uses natural lighting to evoke a gritty and realistic portrait of mid-20th century Detroit, but throughout the movie, it is obvious that Soderbergh filmed some, if not all, of this movie on an iPhone. On top of serving as director, Steven Soderbergh takes triple duty as cinematographer and editor, using his usual pseudonyms. Everyone in the cast, including support roles by Kieran Culkin, Noah Jupe, Aimee Seimetz, and the late Craig muMs Grant adds to the layered ensemble who all have motives, ulterior and otherwise, that give them a stake in the story. We also have the inside man Matt Wertz (David Harbour) and his family who get caught in the crossfire. There are crime bosses like Frank Capelli (Ray Liotta) and Aldrick Watkins (Bill Duke), detectives like Joe Finney (Jon Hamm), fixers like Jones (Brendan Fraser), and dames like Vanessa Capelli (Julie Fox) and Paula (Frankie Shaw). Without giving away the plot, the item being sought by everyone is a MacGuffin that pulls everything together. While not nearly as epic as those Scorsese classics, it certainly plays in the same sandbox. An original story, this movie feels heavily indebted to the writing of Elmore Leonard and movies like Goodfellas and The Irishman. What is interesting is that Steven Soderbergh knows how elaborate this story is and yet watching No Sudden Move unfold is as casual as more mainstream fare like Ocean's Eleven. As the story develops, the secondary and tertiary connections between Ronald Russo (Benicio Del Toro) and Curt Goynes (Don Cheadle) begin to unravel a story with larger implications. Written by Ed Solomon (the Bill and Ted trilogy), No Sudden Move is a complex story with a large cast of interconnected characters all brought together around a pivotal job to steal a document from an auto manufacturer. With an all-star cast and snappy dialogue, No Sudden Move is a solid crime thriller with echoes of Scorsese that plays within the expected structure of a crime thriller but with some unexpected twists. For me, Soderbergh's late 90s output like Out of Sight and The Limey remains his most consistent period and No Sudden Move harkens back to those films as well as the work of Quentin Tarantino. The last major studio film he made was Magic Mike and, before that, the popular Ocean's trilogy. Over the last decade, he has worked with multimedia projects ( Mosaic), period dramas ( The Knick), prescient thrillers ( Contagion) while making movies almost entirely on iPhones. REVIEW: Steven Soderbergh loves to play with genre, style, and technology. When their plan goes horribly wrong, their search for who hired them – and for what ultimate purpose – weaves them through all echelons of the race-torn, rapidly changing city. PLOT: In 1954 Detroit, a group of small-time criminals are hired to steal emerging car technology.