Out of Sight (1998)
Directed by Steven Soderbergh
Meet Jack Foley, a smooth criminal who bends the law and is determined to make one last heist. Karen Sisco is a federal marshal who chooses all the right moves … and all the wrong guys. Now they're willing to risk it all to find out if there's more between them than just the law.
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What critics compared Out of Sight to
The whole encounter suggests that writer-director duo Glenn Ficarra and John Requa have studied not only how con men operate, but also the best of the genre (having already supplied one of its looniest entries with “I Love You Phillip Morris”), channeling the sultry, smooth-jazz vibe of Steven Soderbergh’s “Out of Sight” from the opening scene.
There are two ways of seeing "Focus": as a slick, derivative con man movie starring a typically debonair Will Smith that channels the labyrinthine schemes and accompanying jubilance found in everything from "Ocean's Eleven" to "Out of Sight" — or as the worst movie yet from Glenn Ficarra and John Requa, the writer-director pair behind "I Love You Philip Morris" and "Crazy, Stupid, Love."
(The way cinematographer Xavier Perez Grobet often shoots them—sitting opposite each other at a table in an opulent setting, bathed in sultry light—is reminiscent of the Steven Soderbergh classic “ Out of Sight ” in ways that surely can’t be a coincidence.)
Directors Glen Ficarra and John Requa are making a Steven Soderbergh’s Greatest Hits Mixtape here, borrowing Out of Sight‘s sexy frissions along with the Ocean’s knack for somehow making things suspenseful even though they’re going exactly according to plan.
One scene borrows brazenly from the crackling seduction scene in Steven Soderbergh’s Out of Sight, but here the sexiness is slightly synthetic, a corporate pastiche.
They desperately want Focus to have the cool, hip vibe of a movie like Ocean’s 11 or Out Of Sight, but the mixed tones destroy any chance of that happening.
The hip vibe and quirky characters seem less inspired by Sylvester Stallone than by Steven Soderbergh in his "Out of Sight" phase; the one-liners zing right along with the bullets in a playful pas de deux of mayhem, misdirection and mordant humor.
Clooney’s performance recalls his work in Soderbergh’s “Out of Sight,” while the movie’s pacing reminded me of Minghella’s “The Talented Mr. Ripley.”
He compares it to classics like Mr. & Mrs. Smith and Out of Sight…
Abela’s presence is begging for a movie with the titanic sparks found in the trunk in Out of Sight.
Even so, Black Bag is a new mode for the filmmaker, whose Haywire and Out of Sight both feel adjacent to his latest…
There’s the sexiness of Out of Sight…
…it’s hard not to wish that the newly prolific Soderbergh had woken up a bit to give the routine plot machinations in this London-set spy yarn the same spark that he’s brought to similar genre throwbacks in the past, among them 1998’s Out of Sight.
Director/cinematographer/editor Steven Soderbergh (Out of Sight) and screenwriter David Koepp (Jurassic Park) are very good at filmcraft.
Finding each other on "Out Of Sight" is the best thing either of them has done.
With the divergent "Ocean's Eleven," "Traffic," "Erin Brockovich" and "Out of Sight" on his recent rsum, the writer-director now turns to a remake of the Russian science-fiction classic, directed by celebrated Soviet filmmaker Andrei Tarkovsky in 1972.
Those who saw the stirrings of a Serious Actor in O Brother Where Art Thou and Out Of Sight will be pleased to see Clooney leap yet again to a new level of dexterity, poise, nuance and restraint.
The way the director shoots it all, catching the glances, the smiles, and the ugly moments as well, is reminiscent of the magic he brought to Out of Sight years ago.
The maverick director of Traffic and Out of Sight doesn't shy away from challenges, and even when he fails, you can sense him planning for his next run at the hill.
Out of Sight and Traffic contained a wide variety of film stocks and filters, while The Limey and The Underneath played around with time.
And few directors in recent history can match Soderbergh's astonishing consecutive run of "Out of Sight," "The Limey," "Brockovich," "Traffic" and "Ocean's" (released in a period of just four years!).
Soderbergh has directed more than two dozen movies in as many years (and almost as many genres), from Sex, Lies and Videotape to the Ocean's movies, from Bubble and The Girlfriend Experience to Erin Brockovich and Traffic, from Che to Solaris to (my own favorite) Out of Sight.
Soderbergh's pictures as director range from the openly commercial Ocean's Eleven to the experimental Schizopolis ; from a two-part biography of Che Guevara and a remake of Tarkovsky's sci-fi classic Solaris to the best adaptation of an Elmore Leonard thriller, Out of Sight , and the true-life social conscience drama Erin Brockovich , in which Julia Roberts won an Oscar.
But, as successes like "Erin Brockovich," "Out of Sight" and his new film, "Side Effects," demonstrate, when Soderbergh is willing to play it on the square, he's as good as anyone at bringing intelligence and verve to straight-ahead material.
The Oscar-winning director of “Traffic” — as well as “Sex, Lies and Videotape,” “Out of Sight,” “Erin Brockovich” and “Ocean’s Eleven” — has said this is his last film.
Alright, "Batman & Robin" was lackluster, and he's made a few other ho-hum movies, but lately he's been on a roll, working with the likes of David O' Russell, the Coen brothers and, of course, Steven Soderbergh, for whom he first starred in "Out of Sight".
Now that director Steven Soderbergh has established himself as a Prestigious and Important American Director with his message films Erin Brockovich and Traffic , he can get back to making the same top-notch entertainments that we loved him for in the first place, like Out of Sight and The Limey .
Alas, of his five films since 1998 � the others being Out of Sight, The Limey, Erin Brockovich and Traffic � Ocean's Eleven is his flimsiest and most forgettable.
Movie fans also might justifiably complain that the new film has less to do with Sinatra and the old "Ocean's Eleven" than it does the 1998 Soderbergh-Clooney heist movie, "Out of Sight."
And to think, he was almost run out of town right before he made "Out of Sight."
Split screens, wipes and slow motion--also prevalent in Soderbergh's other recent crime movies "The Limey" and "Out of Sight"--recall an earlier, edgier period of filmmaking.
He makes bright, boisterous fun films (think Ocean's Eleven and Out Of Sight), cynical, smart personal meditations (sex, lies and videotape, The Limey), and Oscar grabs (Traffic, Erin Brockovich).
It wasn’t until 1998’s Out of Sight that he dabbled in doing something more “straight”.
The same director who made Erin Brockovich, Traffic and Out of Sight also made Full Frontal, Bubble and Che .
Out of Sight and Traffic contained a wide variety of film stocks and filters, while The Limey and The Underneath played around with time.
From Logan Lucky, Ocean's Eleven, and Out of Sight, Soderbergh has proved himself a master of mindful pacing.
Steven Soderbergh, the hip auteur behind such critical hits as “Out of Sight” (1998), “Traffic” (2000) and the “Ocean’s Eleven” films, as well as the pandemic-prescient “Contagion” (2011), sets a thriller against this tired Covid moment (about half the people we see along the streets or in the office are wearing masks) in Seattle, where a tech worker discovers a potential murder in the file base of the titular entity – a Siri or Alexa competitor that uses humans to edit communication/response bugs.
So, it’s a heist movie, something Soderbergh knows a thing or two about, having called the shots on Ocean’s 11 through 13, not to mention the classic Elmore Leonard adaptation, Out of Sight .
Soderbergh is one of the reigning masters of the heist picture: he did the " Ocean's Eleven " remake and its two sequels, plus " Out of Sight " and " The Underneath ."
To single out a mere eight of 28 film credits: There’s the indie film lodestar Sex, Lies, and Videotape; drug trade exposé Traffic; experimental head case Schizopolis; a hypochondriac’s anxious-sneeze confirmed in Contagion; mixed martial arts adrenaline shot Haywire; new-millennium Norma Rae Erin Brockovich; new-genre invention – hullo, male-stripper-meets-the-recession! – Magic Mike; and, oh yeah, only the most stylish crime caper ever made, Out of Sight.
Logan Lucky is close in tone to one of Soderbergh’s finest movies, Out of Sight (1998), adapted from material by the great Elmore Leonard.
While the caper aspect definitely invites that comparison, I found it also brought to mind 1998's Out of Sight, my favorite Soderbergh film, for both its inclusions of more middle-to-lower class criminal masterminds (some of whom are slightly lacking in the mind department) and its clever use of flashbacks.
In his follow up to Out of Sight, director Steven Soderbergh has come up with a moody five-finger exercise about loss.
Director Steve Soderbergh (who last directed "Out of Sight") this time gets carried away with the flashbacks and flashforwards.
Always innovative but not always involving, they range from the sublime ("sex, lies and videotape," "King of the Hill," "Out of Sight") to the disappointing ("Kafka").
Back in the mainstream, he directed one of last year's best movies, the Elmore Leonard crime story Out of Sight, which made far less money than it deserved.
The Limey continues in the vein he established with his previous film Out of Sight -- straightforward genre pieces that he treats as anything but straightforward.
Coming off of his own big studio production, "Out of Sight," Soderbergh shows he hasn't sold out by making such an audaciously contemplative film out of a script (by Len Dobbs, who co-wrote "Dark City" ) that Hollywood would have watered down to a scowl on a $20 million star and a spray of bullets.
Out of Sight and Traffic contained a wide variety of film stocks and filters, while The Limey and The Underneath played around with time.
, whose 22 years in the business have yielded such fine works as “sex, lies and videotape,” “King of the Hill,” “Out of Sight,” “The Limey,” “Erin Brockovich,” “Traffic,” “Che,” “The Informant!” and the “Ocean’s Eleven” series, among many others.
As Out of Sight flipped the romantic comedy and Erin Brockovich flipped the do-gooder movie and Ocean’s XX riffed on the rat pack flick, Contagion drives Steven right into Irwin Allen territory, where he uses all of his craft and collaborators to make a film that never feels like the schlockfest it could well have been.
"Out of Sight" puts Soderbergh firmly back on the map as a force to be reckoned with, as his follow ups, " Erin Brockovich " and " Traffic ", have proved.
The most straightforward piece of direction Soderbergh has ever done, "Erin Brockovich" has none of the tricky, jumbled time scheme he used in "Out of Sight" or "The Limey."
But two years ago, with the exceptional George Clooney - Jennifer Lopez vehicle "Out of Sight," he revealed an unlooked-for talent that's on display here as well.
His last two efforts were crime films, Out of Sight (1998) and The Limey (1999), and they couldn't have been more different from one another.
Soderbergh's direction has a certain pep to it, but lacks the strength of Out of Sight or last year's The Limey; this seems more like a job-for-hire than something he truly believes in.
He's the guy who made the movie Out of Sight, which Erin's production notes proudly proclaim as "the third best-reviewed film of 1998, according to Premiere Magazine."
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But that doesn’t necessarily preclude later affection, just as it didn’t for Jack Foley and Karen Sisco in Out of Sight.
Sam Rockwell voices Mr Wolf, their suave leader, channelling George Clooney in Ocean’s Eleven, George Clooney in Fantastic Mr. Fox and George Clooney in Out of Sight.
A children’s animated film which captures the snappy cool and dash of Steven Soderbergh’s Out of Sight and his Ocean’s Trilogy?
It starred Jennifer Lopez and isn’t “Out of Sight.”
It’s a novel approach, one adjacent to that of Steven Soderbergh’s Out of Sight (1998) and Shane Black’s Kiss Kiss Bang Bang (2005), but distinctly pricklier and frostier.
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If you like character-driven crime films – think Out of Sight or The Town – this belongs in that company.
There’s a standout sequence set in Detroit, of all places, doing as great a job with photographing that city as anything since Soderbergh’s “ Out of Sight .”