Ed Solomon’s dialogue moves rhythmically, and with this in mind Soderbergh exerts a fine control over his suspenseful atmosphere, deliberately running it up against the fast pacing of his editing and at one point shrilly ringing a telephone in the background, building the scene to a panicked crescendo.Īs Curt and Ronald navigate their way to the top of corporate and criminal ladders beyond their understanding, Soderbergh slowly builds an underworld of shady business secrets hidden within the quiet, conservative suburbs of Michigan. For the most part, Soderbergh plays his thrills and drama straight, leading us through a frenzied first act before taking his foot off the pedal and letting his plot unfold at a milder, though no less engrossing pace. The narrative itself is a gripping labyrinth of double-crosses and power plays, all pointing towards an inevitable conclusion – it’s the big guy that will always get the last say.Ĭomparisons might reasonably be drawn to Coen Brothers films where carefully planned crimes descend into chaos and perpetrators wrestle with questions of fate, though the dark irony of No Sudden Move is rarely so farcical. Bit by bit, No Sudden Move spins out into a wild, sprawling caper across 1950s Detroit, as Steven Soderbergh calls in Bill Duke, Julia Fox, Jon Hamm, Ray Liotta, and Matt Damon among other stars to fill in his ensemble of low-level criminals, high-flying gangsters, business executives, and police officers. Don Cheadle and Benicio del Toro are the contractors, Curt and Ronald, though the identity of whoever is hiring them remains suspiciously elusive. ![]() It starts with a small, simple job – send a businessman to retrieve an important document from his boss’ safe at the office, and keep his family hostage back home in the meantime.
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