We see this manifested in various ways throughout the film. A time defined both by rapid industrialization and racial tensions across the country. The setting of No Sudden Move is critical to its separation from Soderbergh’s previous crime films: that of 1950s Detroit. The supporting cast is too dense to name, but special praise must be given to boss hog Bill Duke, and Brendan Fraser, who hasn’t missed a beat since his own hiatus from acting. The cast is also Soderbergh’s biggest in a long time, with central players Don Cheadle and Benicio del Toro sharing the role of protagonist as both of their characters try to figure out exactly what they’ve been asked to secure. Many character tropes of noir are here: the femme fatale, the questionably dirty cop, and a guy who’s literally named Mr. Most of the film is shot with natural lighting and a fisheye lens so warped that faces on the edge of the frames begin to shift as the corners are rounded out with shadows. No Sudden Move plays out more like The Maltese Falcon than any of the Ocean’s films, a formidable showcase of both style and performance. The machinations of this scheme, down to the very documents being stolen, are muddied through layers of power structures and ulterior motives. After taking a babysitting job and escorting an employee to his workplace to extract the target item, things quickly go south. To describe the plot at all is to give too much away, so I’ll just give you the hook: three criminals get hired to steal some documents and find that the job is much larger than they were led to believe. No Sudden Move is perhaps the most conventional film Soderbergh has made since his break from filmmaking, but is no less filled with his unique charm. Since then Soderbergh’s output has been more varied than ever: a horror film and a basketball business drama both shot on iPhones, an experimental anthology about money laundering, and a family drama shot aboard a cruise ship. After a brief hiatus that he called a retirement in 2013 following the release of Behind the Candelabra, Soderbergh quickly made his return with Logan Lucky ( Ocean’s Seven-Eleven if you’re nasty), a return to the heist genre that made him a mainstream success back in the early 2000s.
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