I wasn’t sure about No Sudden Move, at first. The notion of a crime drama directed by Steven Soderbergh bears with it all manner of expectation, not unlike when you mix “gangster” with “Scorsese.” It’s all a bit 1 + 1 = 2; you can feel when the math is off, and you can also feel when the deviations are deliberate. For all its immediately apparent polish — and the automatic pleasure of seeing the likes of Don Cheadle, Benicio Del Toro, Brendan Fraser and others up to no good and clearly at odds — Soderbergh’s newest effort felt,...
- 7/7/2021
- by K. Austin Collins
- Rollingstone.com
Steven Soderbergh is one of the few commercial American directors who makes films about money—stealing it, lacking it, and its intersection with sex, power, culture, and politics. He’s a filmmaker who’s keenly aware of the reasons why some have money and many others don’t. He knows what it says about a person and where they fit on the capitalist hierarchy. His genre obsessions make these ideas go down smoothly, sometimes almost deceptively so, but there’s genuine indignation at the inequity of it all combined with honest compassion for those stuck on the losing side of the system. It’s too easy to say his films are just metaphors for life in America, though that’s certainly a part of it. It’s more honest to say he places seekers and thieves in the center of his films because, at least in art, they demand focus and control the action.
- 7/6/2021
- by Vikram Murthi
- The Film Stage
Steven Soderbergh’s No Sudden Move is deviously sexy. Not in that sweaty between the sheets way best enjoyed up against a wall. The subtle eroticism comes from what’s under the sheets and behind the walls. Every character has something to hide, and nothing to say about it. Secrets are like mascara, alibis are fedoras. Everybody wants something, but they won’t say what it is. The biggest villains want things to disappear, and they certainly don’t want anybody talking about it.
No Sudden Move is a heist film, but don’t go in expecting Ocean’s 11, in spite of the all-star cast. This is a theft worth savoring, and Soderbergh gives the players room to breathe. Of course, any of those breaths can be a character’s last, which becomes apparent very quickly. Most of the other information trickles out like blood from exit wounds, as the...
No Sudden Move is a heist film, but don’t go in expecting Ocean’s 11, in spite of the all-star cast. This is a theft worth savoring, and Soderbergh gives the players room to breathe. Of course, any of those breaths can be a character’s last, which becomes apparent very quickly. Most of the other information trickles out like blood from exit wounds, as the...
- 7/1/2021
- by John Saavedra
- Den of Geek
Everyone is having such a blast in “No Sudden Moves” that it’s hard to realize how minimal of an impression it leaves until it’s over. Steven Soderbergh’s lighthearted crime caper offers the kind of fast-and-loose ensemble material that he spins out in his sleep, and with a robust cast on the same wavelength, “No Sudden Move” makes its sense of play infectious.
Set in Detroit circa 1954, “No Sudden Move” was shot during the pandemic and has the speedy quality of a production that doesn’t want to waste any time. It’s so fun to watch the exploits of two-bit criminals Ronald (Benicio Del Toro) and Curt (Don Cheadle) as they attempt to take control of a hired gig on their own terms that, even as the movie devolves into an ineffectual shaggy-dog story shoehorned into a baffling and abrupt real-life backdrop, it remains
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Set in Detroit circa 1954, “No Sudden Move” was shot during the pandemic and has the speedy quality of a production that doesn’t want to waste any time. It’s so fun to watch the exploits of two-bit criminals Ronald (Benicio Del Toro) and Curt (Don Cheadle) as they attempt to take control of a hired gig on their own terms that, even as the movie devolves into an ineffectual shaggy-dog story shoehorned into a baffling and abrupt real-life backdrop, it remains
Leave it to...
- 6/19/2021
- by Eric Kohn
- Indiewire
Steven Soderbergh is a fantastically eclectic filmmaker (you never know where he’s going to go next), but if you look back over his roughly 30 dramatic features it’s telling to consider how many of them are some variety of tricky old-school thriller or film noir powered by suspenseful screw-tightening. I’m talking about the “Ocean’s” trilogy, the ebullient Elmore Leonard adaptation “Out of Sight,” the redneck heist thriller “Logan Lucky,” the deconstructed gangster mystery “The Limey,” the brooding noir “The Underneath,” the small-town grunge noir “Bubble,” the sex-industry noir “The Girlfriend Experience,” and the true-life-bumbler noir “The Informant!” Soderbergh has a prankish side, but the truth is he would have been right at home in the ’40s or ’50 churning out moody black-and-white thrillers like Robert Siodmak or Joseph H. Lewis.
His latest, “No Sudden Move,” makes that connection all the more explicit. Opening on a gorgeous vintage version of the Warner Bros. logo,...
His latest, “No Sudden Move,” makes that connection all the more explicit. Opening on a gorgeous vintage version of the Warner Bros. logo,...
- 6/19/2021
- by Owen Gleiberman
- Variety Film + TV
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