Lam Chops

Arresting Out of Sight captures Elmore Leonard's escape artistry on film

This is the kind of movie where you could never confuse Miami for Detroit or mistake them for the same cities in other movies and TV shows. Soderbergh's Miami unites the color scheme of a neon jungle with a Bauhaus unity, solidity and edge; his Detroit is an asphalt jungle under snow.

In either place, what distinguishes Jack and Karen is their principled adaptability. In this picture, there's a core of feeling to the atmosphere. In his flop neo-noir The Underneath, Soderbergh smothered snappy lines and arresting arcs of character in arty coups de cinema. In Out of Sight--a light movie, not a superficial one--he's learned that an audience will follow any director to what lies "underneath" as long as he keeps his film expressive on the surface. The audience responds to Out of Sight the way Jack and Karen do to each other. Instantly we like the way it looks, moves and sounds. Ultimately we like how it makes us feel.

Out of Sight
Directed by Steven Soderbergh.

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