NO SUDDEN MOVE IN THEATERS MOVIE
They have great chemistry and really hold the movie together. It is honestly quite interesting and fun to watch del Toro and Cheadle interact and progress through the mystery and up the social ladder. All the while dealing with every mobster they’ve ever known trying to double-cross them and take what they want at their expense.
They start out working for a measly $5,000 which turns into $25,000, then becomes 45, then 90, up to $125,000 then, finally $409,000. The pair goes from dingy bars and houses to middle-class homes, to upper-middle-class homes, then to the upper class, then to the 1% as they slowly sniff their way to the money. The two form an unlikely alliance and begin scheming with, and occasionally against, each other to secure the files and sell them, themselves. Subscribe to The Hollywood Insider’s YouTube Channel, by clicking here. The job goes awry when Kurt senses a set-up and kills Charley, submerging himself and Russo in a massive plot to steal revolutionary designs for the catalytic converter, a device that now is used to control emissions from automobiles. They are tasked with babysitting a family while Charley ( Kieran Culkin ) takes the family’s businessman patriarch ( David Harbour ) to steal a file from his boss’s safe. They pick up one more guy, Ronald Russo ( Benicio del Toro ), before meeting up with a third party and discuss the parameters of the job. Jones ( Brendan Fraser ), a man whose allegiances are unknown and the job sounds a bit too sweet to be true. Kurt Goynes ( Don Cheadle) is a member of the African mob in Detroit and was just released from jail after a job gone bad.
This understanding of the social hierarchy is what is so alluring about ‘No Sudden Move.’ We start out following some everyman characters who haphazardly climb the social echelons until they are rubbing elbows with the mightiest figures in all of Detroit. Metaphorically, this set-up is representative of a huge portion of the American elite, but through the first hour of the run time, we are mostly observing low-level mobsters and minor shot-callers. The beginning half is a purposefully confusing set-up that sets the overall tone and theme of the film trust gets you killed and everyone around you has an ulterior motive. The political commentary within ‘No Sudden Move’ is handled rather well and is not broached, for the most part, until the second half of the film. I can understand how this would be distracting to the uninformed viewer, but just think for a moment about the fact that the auteur knew you would notice.Related article: A Tribute to Cannes Film Festival: A Celebration of Cinema, Glamour, and Humanity | Statement From The Hollywood Insider’s CEO Pritan Ambroase This would be correct for the period and a call back to the films of the era. Anamorphic widescreen has a distorting effect at the peripheral ends. We as a community of movie lovers ought to embrace and celebrate the efforts of these masters while they're still sufficiently motivated to contend with the cumbersome tasks of making art out of commercial spaces.
I would have to assume all of his decisions as cinematographer and editor (under not so secret pseudonyms) as well as being director were explicitly and intentionally acts of artistic agency. Soderbergh is a slavish cineaste of the first order, of technical virtuosity few could hope to match.
Was really disturbed to read a negative review of this film from someone who apparently does not know the difference between anamorphic widescreen and fisheye lenses.
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