![]() No Sudden Move is less one big surprise than it is a series of miniature, sometimes fleeting character dramas. Just don't make the mistake of thinking this is a singular mystery with a definitive "oh shit" reveal at the end. It's the kind of story that keeps you guessing right up until the credits roll. Same goes for Harbour's Matt Wertz and pretty much everyone else in an "oh wow, that actor is here too?!" ensemble that includes Julia Fox, Craig "muMs" Grant ( R.I.P.), Ray Liotta, Amy Seimetz, Bill Duke, and some added surprises along the way. You don't need to know more about Charley until you meet him. I'm being spare with the specifics on purpose. ![]() Of course, as we in the audience fully expect, and as Goynes, Russo, and their fellow accomplice Charley (Culkin) no doubt realize on some level, this thing that seems way too good to be true is most certainly just that. In other words: The generous haul that this would-be easy job offers is immediately suspicious to both men, but neither one is exactly in a position to say no. ![]() We learn what we need to learn in due time - in fact, that's part of the fun - but suffice to say that Goynes and Russo, our ostensible stars, are outcasts even in their seedy community of lowlifes and crooks.Ī playfully meandering and star-studded caper flick that's steeped in the vibes of a '50s film noir. Del Toro's Ronald Russo is in a somewhat similar predicament, though for vastly different reasons. But we learn quickly that Cheadle's recent ex-con, Curt Goynes, isn't exactly a favorite of Detroit's two top-tier crime bosses. The "why" of it all is left intentionally hazy by the job's money man, Jones (Brendan Fraser!). Set in mid-'50s Detroit - and shaped by the social and economic forces of that time and place - Solomon's twisting story opens on a trio of apparently outcast small-time criminals (Don Cheadle, Benicio del Toro, and Kieran Culkin) who are brought together for a simple yet unusually lucrative job: "Babysit" (i.e., watch and, if things go south, kill) a working man's family while said working man, played by a clean-shaven but rough-edged David Harbour, steals some valuable paperwork from his boss's office safe. But where Soderbergh's trilogy of Las Vegas heist adventures mixed the ostentatious style of America's glitziest city with the cool-guy aesthetics of the Rat Pack, No Sudden Move takes a grimier turn. The ensemble feature directed by Steven Soderbergh and penned by Ed Solomon feels immediately like a creation from the filmmaker who gave the world Danny Ocean. Steven wins the award for coolest shoes on a Fisher in recent years and he certainly makes the films the way he wants them to look in a whatever it takes sort of mindset.No Sudden Move is a complicated story with the simple premise of a playfully meandering and star-studded caper flick that's steeped in the vibes of a midcentury film noir. So much so that modern Kowas are now a thing. These lenses are far from new and have been widely used across all sorts of projects. ![]() The wides were clearly a stylistic choice in my mind, didn't cry much about it. Many DPs love or hate that and there's not much room in the boat in the middle there over the years. Kowas have famously somewhat fisheye-like distortion on the wides. In this case it's one of his Monstros and he rented the glass from TCS New York, who are credited at the end of the film.įor the thoughts/critique on the distortion. Does Steven still buy all his gear or does he rent? I know hes purchased a few ONE bodies, an Epic but after that I lost track on if he still purchases all his camera bodies or rents now.Įither way, I liked the look of the film, its much better than Michael Mann's Public Enemies which was a period film shot digital (Sony F23 and Digiprimes) and man did that film look like utter trash! Not downputting the F23 or those lenses as i owned both at one point, beautiful kit.He like a few folks, myself included, owns and occasionally rents gear as needed.
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