no sudden move review

no sudden move full movie review : On a typical Monday morning in Detroit, three masked men arrived at a beautiful brick house on a tree-lined street. Once inside, two of them were carrying a mother and her children at gunpoint and a colleague was escorting a local man, a middlelevel accountant to General Motors, on an emergency mission. In the mid-1950's, which means that cars are big and curved, men usually wear hats and tires, and women, most of them women, secretaries or wives.

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No one involved - not the attackers or their victims - knew exactly what was happening. The viewer of “No Sudden Move,” whose intriguing masterpiece is a network of dots composed of complex, well-executed masterpieces. The rest of the boys in the house, Curt (Don Cheadle) and Ronald (Benicio Del Toro), have been hired by an impatient colleague Mr. Jones (Brendan Fraser) for the so-called easy job of guarding children. Before the end of the morning, they learned that more complex schemes were involved: small grievances of organized crime; the wrong desires of the automotive industry; requirements of post-war power and prosperity.

And, by wandering over all, the concern of the director, Steven Soderbergh. In the current phase of his tragic protean career, Soderbergh is both a brave filmmaker and a passionate cinematographer. “No Sudden Move,” from Ed Solomon's (who co-wrote all three of Bill & Ted's films), for the most part is a strong and twisted crime caper against the clock with a clear debt to Elmore Leonard (as well as family similarities with -Soderbergh's Detroit-set great fun "Out of Sight"). It also has things to say - sometimes a little bit - about race, housing, capitalism and power.

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Those things are interesting, but they are probably not as interesting as what people say. The story is about the pursuit of money and sometimes deadly information, but the most important part of the film is its imitation. Curt and Ronald, talented and talented short-term players who are deep in depth, focus on action, which means you spend a lot of time with Cheadle and Del Toro as they play a lot of stress - and yet low key - friend humor.

Ronald, a little drunk and a bit of a racist, travels the world as if he were dancing to a sad song that only he could hear. Curt, who has just been released from prison with his grief, has the quick wit and jumping skills of a survivor. Each was badly beaten by the local crime boss, which is bad for them but lucky for us, as the big shots were played by Ray Liotta and Bill Duke.

There is more, especially David Harbor like G.M. accountant and Amy Seimetz as his hot wife. The whole melodrama of marriage malaise and sex secrets is wrapped up in their scenes, just as "No Sudden Movement" suggests a movie of the Coen brothers with a clear social conscience instead of the surrounding cynicism. Most of the characters are players who can play well in a rival game, and he hopes that at least some of them will play well with their wrong hands to fail.

The film itself is almost flawless in its performance, which is beautiful and limited. The costume (by Marci Rodgers) and the production design (by Hannah Beachler) created a panorama of the Motor City museum in its heyday, just as the text points out some of the cracks in the burnt areas. The accuracy and kindness of the characters I've called extends to the whole conference - with Jon Hamm (as skeptical lawyer), Frankie Shaw (as GM's secretary in the game), Julia Fox (as Ronald's lover) - at least one surprise I don't need.

In conjunction with automotive themes, everything works like a well-designed machine, which also means that an important, difficult to define feature - of soul, of automation, of evil or of inspiration - is lost. What makes the building a continuous set of desirable plans, which sometimes have to be torn in half. The “No Sudden Move” program remains
solid, and the object itself works very well in terms of detail. The consumer rating agency will give it a high score for safety and efficiency, but it never leaves the exhibition space.

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