No Sudden Move (2021)

Desperation yields darkly comic dividends in this twisty period caper, kept humming by a superb ensemble's offbeat moments even as the convoluted plot threatens to bog down. Soderbergh returns to his crime-movie wheelhouse with memorable character work and tension that is often expertly built and defused.

Soderbergh plays to his strengths with intricate plotting, sardonic humor, and a crackerjack ensemble in this nimble neo-noir about crooks entangled in a document theft and corporate skullduggery in 1954 Detroit. The film is zippy and entertaining with sumptuous visuals and a buoyant storyteller at the helm, even if the script feels slightly less than the sum of its parts.

The review calls it a suave, moody crime drama that favours a sense of fatigue and detail over flashy noir swagger. Soderbergh is praised for his flair with actors and for incorporating real historical footnotes about corporate conspiracy and urban displacement without moralising.

Soderbergh delivers a lighthearted caper that goes down easy, with Don Cheadle and Benicio Del Toro having a blast amid the crime-gone-wrong antics. Despite a puzzling historical backdrop, the star-studded story remains amiable and engaging.

The critic calls it a sharp, gritty crime thriller with an all-star cast in a claustrophobic 1950s Detroit heist setup. They single out the charismatic performances, inventive compositions and editing, and the gradual shift to a wider systemic critique of American capitalism.

No Sudden Move is a cooler-than-cool pastiche of 1950s noir and modern social self-consciousness, with high style, visual texture, and Soderbergh's signature grasp of professionalism and rigged systems. The hipness and intricate plotting can keep viewers at a remove, though standout performances and subtle details provide piercing moments.

Soderbergh’s film is a retread and effortful reanimation of genre conventions with stylistic pleasures that adorn the action without reimagining it. It is a cinematic nostalgia trip that is far from unpleasurable but even further from substantial, with serious themes leveraged only as plot points.

The film is an oozy, surreal all-star heist thriller set in 1950s Detroit that delivers twists and strong performances despite its limited release. The critic highlights the cast (particularly David Harbour and Jon Hamm) and Soderbergh's distinctive camera work as reasons it succeeds.

The review describes a crackling, smart noir filled with nifty surprises and strong performances, especially Don Cheadle. It notes the film’s ambition in pivoting from heist to broader themes but finds it slightly self-conscious, though still recommended as a grown-up treat.

All due respect to ‘F9,’ but ‘No Sudden Move’ is the car movie of the summer in this smart, insouciantly twisty thriller set in 1954 Detroit. The seductive glide of Soderbergh’s filmmaking and the noirish cynicism suggest a grim tonal reversal of his earlier ensemble thrillers.

The critic praises Soderbergh for using a crowd-pleasing heist format to smuggle in subversive commentary on race, industry and politics in 1950s Detroit. The film is commended for its taut plotting, strong ensemble and nimble writing that balances genre thrills with deeper social critique.

Soderbergh returns to the heist genre with an A-list cast in a well-crafted, reassuringly thrilling film that is a minor but solid entry in his filmography. The critic praises the professional execution of the caper and standout performances, especially from Don Cheadle and Brendan Fraser.

The film is a Detroit-set period thriller with a lot on its mind, starring Don Cheadle and Benicio Del Toro. Viewers are tasked with connecting intricately arranged dots in this crime drama.

The critic finds the film ingeniously overstuffed and directed with devilish panache, a versatile showcase for Soderbergh’s talents in period crime drama with social critique. Performances across the board, especially from Cheadle, del Toro and Culkin, are singled out as uniformly strong.

The film is a down-and-dirty, multi-tentacled crime thriller set in racially polarized 1954 Detroit in which everyone double-crosses everyone. It is an ambitious light-spirited high-twist modernist noir that is clever and blithely vicious but doesn’t quite make the old seem new again.

The critic praises it as a taut, cynical inverse of Soderbergh's Ocean's films, highlighting the backstabbing criminals, social commentary on Detroit and capitalism, and Soderbergh's direction; it's a wicked good time with satisfying themes.

The critic calls the film a deviously sexy, low-key noir heist story full of ulterior motives and subtle eroticism rather than an Ocean's-style caper. They single out the expert recreation of 1950s Detroit, the color-coded production design, and Matt Damon's chilling turn as the ultimate villain.

The critic calls it a masterpiece that blends crime caper, gangster film, and period drama about American cities' destruction, praising the performances, depth, and visual style.

The critic commends the film's fleet-footed direction, inventive compositions, and strong ensemble performances that bring depth to the pressure-cooker plot of double-crosses and social tensions.

The critic praises the twisty noirish period crime thriller for its superb ensemble cast and cool story, calling it a must-see in the Soderbergh canon that delivers satisfying entertainment reminiscent of classic '50s crime dramas. They single out the cast performances, especially Cheadle, Del Toro, and others, for making the film a cool pleasure.

The critic praises Soderbergh's tight pacing and claustrophobic mood in this twisty crime thriller, highlighting the stylish fisheye lensing and jazz score, while noting the plot's complexity might be a tad overdone.

The critic finds it measured and subdued, with low stakes, emotional distance, and a script that juggles too much, though it has patience and interesting themes about power and conspiracy.

The critic finds it a first-class genre tale with entertaining performances and rich period detail but criticizes it for biting off more historical tragedy than it can chew, ultimately feeling like a hopeless recitation of doom. They single out the stylish direction, off-kilter dialogue, and strong ensemble for praise while complaining about the tacked-on gravitas at the end.