VERSUS THE SCARECROW EPISODE FIFTEEN: The Perennial Steven Soderbergh. I decided to challenge myself and really open the doors of my film knowledge and take on “The Scarecrow Video Movie Guide”. It’s 808 pages of movies and movie reviews from some of the most knowledgeable movie people you don’t know. It’s a book put together by a staff that praises, and destroys, some of our favorites and not so favorites. You can read the rest of my series here.
Just a quick refresher: each episode, I’m going to tackle three films from three different categories. Two films will be films I’ve never seen before and one will be one I’ve seen before or own. For the new films, well, new to me, I’m going to review them like a typical FTS review using the TOAST Rating system. But, for the films I’ve seen, I’m going give a quick paragraph or two about why I like or don’t like the film. We’ll try to include the poster and trailer for each film. “….and here. We. Go!”
Steven Soderbergh is a fantastic director. His casts are solid, his scripts are tight, and his visual style subtly shifts every film, creating a chameleon effect that has endured and will continue to endure. It’s a shame that he’s announced his retirement, but I wouldn’t be surprised if he returned in a few years with something new. (At least I hope and pray he does… have you seen Side Effects yet? I was thoroughly impressed) In this episode, we look at the remake Solaris (2002), the super sexy Out of Sight (1998), and I reflect on the masterful, yet depressing, Traffic (2000).
Out of Sight (1998) Directed by Steven Soderbergh. Starring: George Clooney, Jennifer Lopez, Ving Rhames. IMDB says: “A career bank robber breaks out of jail and shares a moment of mutual attraction with a US Marshall he has kidnapped.”
“You a good bitch Tuffy, here’s a treat for ya.”
After the opening scene with Jack Foley (the always charming and captivating George Clooney) in the bank, I was hooked. I didn’t care what happened next. All the characters could have entered the room and began quietly reading to themselves and I would have been content. Maybe not to that extent, but I knew after the opening scene, I was going to enjoy this movie. Through non-linear story-telling and a few sexy scenes, Soderbergh delivered easily one of the best crime films out there. The writing is sharp, which I think is more attributed to Elmore Leonard (author of the novel the film is based on) than Scott Frank (screenplay), but is executed to a T by Clooney, Jennifer Lopez (why couldn’t we get this good a performance in Parker?) a very Pulp Fiction-esque Ving Rhames, a hilarious Don Cheadle, and a bumbling Steve Zahn. The list goes on though, with supporting roles from Catherine Keener, Luis Guzman, Albert Brooks, and a few surprise cameos here and there. The film is about Jack Foley, a professional bank robber who breaks out of jail with Buddy Bragg (Ving Rhames). As Jack and Buddy make their escape, their paths cross with Federal Marshall Karen Sisco (Jennifer Lopez) and after sharing a trunk ride together, Jack Foley can’t seem to shake his attraction towards Karen.
The directing is fantastic with one of the best scenes taking place in a trunk. The lighting and camera work creates a quick intimacy between Jack and Karen, allowing for an intimacy to grow into a unrelenting attraction. And did I mention it takes place in the trunk of a car! How often do you see scenes like these? Not often, and Soderbergh wastes no time building off of this interaction by creating situations in hotel rooms that lead to some sexy situations. So sexy in fact, that in November 2008 Entertainment Weekly ranked the film #1 in their list of sexiest movies ever! (Thanks IMDB) But amongst the action and sexiness is a lot of humor. The barbs between Clooney and Rhames and nearly anything Cheadle says is worth several chuckles. It’s a healthy mixture that allows the film to be serious when it needs to be without taking away from the pace or overall tone of the film. My only gripe about the film is the length. Usually I don’t mind longer films, but this one, clocking in at just over 2 hours, for some reason felt off to me. The pace wasn’t effected, none of the scenes really dragged on, but I felt myself getting antsy towards the end. Maybe it was because of the build-up leading to the big job, and I was ready to see what happens, but either way, the film felt a little long.
The film is a lot of fun and I recommend it to anyone looking to have a laugh by themselves or with a group. Not too big a group though. I’d say a maximum of eleven or thirteen. That’s just the right amount of people that can enjoy a well directed, well written, and well acted film such as Out of Sight. Put it on your Netflix queue or if it’s already on your queue, move it to the top spot, or at least the top five.
Check back tomorrow to read the conclusion of episode 15 with my reflections on Traffic. If you're interested in more, you can find the rest of the Versus The Scarecrow series here.