Perhaps it’s a case of the script juggling too much (or too many big-name actors) in one film that we’re left familiar with these people, but not close enough to them. Everyone-from a housewife to a bellhop-is made to feel instrumental to the story and to one another. Regardless of whether or not Soderbergh once again made iPhone filmmaking look more visually elegant than most modern Hollywood blockbusters, No Sudden Move suffers from low stakes and a disconnect from the world of our characters. Acting as editor and cinematographer as well as director (crediting the first two under separate pseudonyms), Soderbergh’s warped, round-edged, kinetic wide shots might lead one to infer that similar filmmaking practices were utilized to that of the filmmaker’s iPhone-captured High Flying Bird-though no explicit confirmation has yet been made as to the type of camera, or cellphone, Soderbergh used for No Sudden Move. Soderbergh’s restrained look into 1950s Detroit is almost dreamlike in its patience, anchored by a lingering camera that carefully follows its subjects just as intently as they stalk one another. Leading up to this, however, the film pads out its nearly two-hour runtime with space for each of its various characters: A seemingly throwaway line referencing Hertz’s affair with his secretary, Paula (Frankie Shaw), develops into a full-blown arc showcasing the nature of their illicit relationship Hertz’s unhappy, unfulfilled wife, Mary (Amy Seimetz), hints at unrealized romantic inclinations with a female neighbor Hertz’s son, Matthew (Noah Jupe), wrestles with his adolescence against his burgeoning masculine expectations, goaded into “doing the right thing” by Finney and Ronald’s lover, Vanessa (Julia Fox), walks a delicate tightrope between her affair with the petty criminal and her marriage to gangster Frank Capelli (Ray Liotta), who is instrumental to the initial scheme. In the film’s third act, the two men discover that this ostensibly minor crime spirals into a wide-spanning conspiracy that reaches into the future of our world. While Detective Joe Finney (Jon Hamm) means to track them down, Curt and Russell evade capture both by the authorities and the mobsters who two-timed them, on their way to uncovering the true nature of the document they were meant to repossess. Curt must improvise his way to safety and modest riches for him and Ronald, the pair of whom make a charmingly reluctant odd couple.
BRENDAN FRASER WEIGHT IN NO SUDDEN MOVE CRACK
The work seems easy enough (a little too easy) until a crack in the foundation gives way to the big reveal that they’ve been set up.
Teaming up with two other small-time criminals-tolerant Ronald Russo (Benicio del Toro) and the immediately suspicious Charlie (Kieran Culkin)-two of the crooks must “babysit” the family of auto executive Matt Hertz (David Harbour) while the other accompanies the patriarch to retrieve an enigmatic document. No Sudden Move thus remains a bit too steady-too controlled and cool-headed, like its leading men-never quite living up to its potential.Ĭurt Goynes (Don Cheadle), recently released from prison and looking for work, is hired by a man named Jones (Brendan Fraser) on behalf of an anonymous client to do a simple job for a big payout. Though Soderbergh’s direction acts as a steady guiding hand, it’s snaked through a winding story that leaves little room for true investment. Featuring a jam-packed, household-name cast, Soderbergh’s latest transports us to 1955 Detroit, Michigan, with multiple threads woven into its dense script penned by Bill and Ted scribe Ed Solomon. Steven Soderbergh-who has been churning out films at even more of a breakneck speed than he’s known for due to his late 2010s affinity for iPhone filmmaking-didn’t allow a simple worldwide pandemic to keep him from shooting his newest crime picture, filmed in September 2020 after being pushed back due to COVID-19. But what starts as easy work for a guy desperate for cash turns into a labyrinthine set-up at the heart of an American-made conspiracy. No Sudden Move opens with a job, during a time and place when such a thing would begin its fixed descent into scarcity.
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