These two think they’re being used to pressurise a mid-ranking auto-industry executive (David Harbour) into stealing a blueprint from his workplace, but the extortion planned off the back of that is well beyond their pay grade. Along with a fellow called Ronald (Benicio del Toro), whom he has yet to meet, he accepts a job, which is naturally a lot more complex than it sounds, from a hulking heavy (Brendan Fraser, diabolically shady in Sydney Greenstreet mode). In a dark fedora and leather jacket, Don Cheadle begins shuffling down Motor City’s back streets, playing a small-time criminal called Curt Goynes who’s scrabbling to pay the rent. Perhaps the director felt the need to challenge himself with the quirk of visual novelty, but it’s a needless distraction – especially given how sturdily written and played the film turns out to be. To signal a period look, Soderbergh and his cinematographer attached wide-angle lenses to modern cameras, producing a strange, bug-eyed distortion effect around the edges of the frame. His latest, No Sudden Move, is a moody crime drama set in 1954 Detroit, with one pronounced eccentricity of style. But there’s a relaxed pleasure in his dabbling across genres these days – a sense of making low-to-mid budget films for the heck of it, rather than because a burning need compels him back. None are quite what you’d call premium Soderbergh a couple were damp squibs. Likely story: his run of six films since then would be the envy of many a director. ![]() ![]() Steven Soderbergh claimed he was retiring from cinema in 2013.
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