![]() Ray Liotta is fantastic as the hot-heated schemer who put this all together, Brendan Fraser is an absolute highlight as a mid-level crook, and Amy Seimetz, Jon Hamm, and Bill Duke really make even smaller roles feel like significant, real characters caught up in a constantly expanding mess. I won’t walk you through the plot, because movies like this are all in the plot. The heist itself is tense, as it requires a low-level employee (David Harbour, who you’ll recognize from Stranger Things) to leverage his affair with a secretary to gain entry to a safe. This is run-of-the-mill stuff for a movie like this, but the art is in how you pivot. They’re supposed to “babysit” a family and collect a document from a safe. Sometimes when characters move past the double cross into the triple cross in a gangster movie, you’re not meant to keep track.ĭon Cheadle and Benicio del Toro play small-time hoods who get called in for what should be an easy job. There’s still plenty unexplained, but that’s the nature of the genre. The twists here aren’t necessarily so confusing that you need to do it twice, but the second viewing will help you understand how some characters feel they fit into all of this. I don’t think you should have to see anything twice, but if you feel compelled some movies definitely reward repeat viewings. Almost every review urges you to see it twice, which I normally balk at but this time I obliged. No Sudden Move is probably a better movie than Ocean’s Eleven or Logan Lucky, my two favorite Soderbergh movies (not films), but I don’t think I enjoyed it as much. I’m not sure if losing money is necessarily a defining point in the movie/film continuum, but there’s probably something there. The Academy even recently tried to make a new category for “popular” movies, which would definitely feature what Soderbergh would call “movies” and not “films.” Soderbergh has only made two movies that lost money, prior to the recent apocalypse for theaters, and those are Che, which he calls a film, and his remake of Solaris which we have discussed in this series before. It seems to be like the classic definition of pornography: “you know it when you see it.” A film is a specific type of movie to Soderbergh, and honestly, this is a definition we can all probably live with in some way. Maron pushed him on this distinction and the director said that films win awards. All of his recent works are movies, not films. He also said that he hasn’t made a film since Che in 2008. Soderbergh said that No Sudden Move is a movie, not a film. David Mamet, years ago on the same show, said something that sticks with me still: “you can sink with your good ideas, but if you want to succeed, you better learn to entertain people.” Mamet arguably is not taking his own advice and obviously has some significant issues these days, but it all ties back to a conversation that Soderbergh goes much deeper on. He says that he’s failed a few times, which is nothing new to admit, but he talks about how failure changes your view of what you do next. I’d encourage anyone with any interest in films to listen to it, as Soderbergh is more honest about his career than most people are willing to be in settings like a huge podcast with tons of listeners. Maron spent a significant amount of the interview discussing the realities of filmmaking with the director. Steven Soderbergh was on WTF with Marc Maron last week to promote his new film No Sudden Move. ![]() This is Best Movie of All Time, an eternal search for the greatest film ever.
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