When they moved the dolly in order to follow the movement, it made for some distractions when the picture moved. The lens choices just didn’t work with regards to home viewing. In terms of execution, there are some rather distracting decisions being made. Knowing Soderbergh, I’ll probably only have to wait a few weeks before that next experiment in craft arrives.Steven Soderbergh is back with the Ed Solomon-scripted No Sudden Move but the lens choices are distracting to watch on a flat screen. No sudden move fisheye movie#If these same fisheye lens or movie star stunt casting experiments had been applied to something more my speed-like a morally queasy horror movie or something draggy like Liberace-I could have fully fallen in love with it. Otherwise, I can’t say the film really did much for me, at least not as much as the campier, more acidic Behind the Candelabra – the most recent example I’ve seen of Soderbergh playing around in HBO’s toy chest. From the winking, referential casting of Jon Hamm in Mad Men-style G-man suits and Ray Liotta in pistol-whipped Goodfellas mobster mode to the chaotic screen presence of Uncut Gems’s Julia Fox as a bored, pouty moll (recalling Paz de la Huerta in the Boardwalk Empire pilot, come to think of it), you can tell Soderbergh and casting director Carmen Cuba are having a ball. The film never stops looking strange, even if it’s narratively well behaved.īeyond that extreme fisheye effect, I was mostly just tickled by No Sudden Move’s casting choices. When the cowardly businessman mark, played by David Harbour, complains into a telephone “Everything is so weird right now” I felt like I knew exactly what he meant. I have to imagine it has a lot of unsuspecting audiences scrambling to adjust the picture settings on their TV, but I was personally delighted by that clash of modern camera tech against a vintage setting. Whenever your eye momentarily adjusts to its skateboard video framing and chiaroscuro lighting, the camera pans or glides to make the whole thing look warped again. While the set & costume design resemble the usual HBO crime series, Soderbergh shoots the entire movie with an extreme wide-angle fisheye lens, often backlit. The biggest hurdle most audiences have to clear to enjoy No Sudden Move is how absolutely fucking bizarre it looks. And yet, it never feels boring or unsurprising thanks to Soderbergh’s flair for wryly funny stunt casting and behind-the-camera mischief. No sudden move fisheye series#It’s a standard heist-gone-wrong plot, styled like a spin-off series about the crime-world decades following Boardwalk Empire. The job goes horrifically wrong, and the bottom-rung gangsters find themselves scheming across 1950s Detroit to hold onto the top-secret document as a bargaining chip for their lives. Don Cheadle, Benicio Del Toro, and Kieran Culkin star as three low-level lackeys who’re hired to hold a business man’s family hostage in exchange for a confidential document of great political import. The big-picture details of Soderbergh’s latest direct-to-cable effort, No Sudden Move, sound like they belong to the pilot episode of a standard-issue HBO crime drama series. No sudden move fisheye tv#Still, it’s been continually fun to watch a long-established director who’s remained excited by his job fuck around with Prestige Cable TV money as if he’s still figuring out the basic elements & limitations of his medium. I usually prefer to see Soderbergh’s playtime sessions projected on the big screen, and I like them best when they overlap with genres I’m already in love with – which is to say that it’s going to be hard to top the experience of seeing his iPhone-shot psych horror Unsaneat the shopping mall multiplex. It’s like babysitting a little kid who’s toying around in a playroom where each dolly & gadget cost millions of dollars. I never tire of watching Steven Soderbergh play around with celebrities and camera tech.
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