![]() ![]() I don’t want to spoil anything beyond that other than to say that Solomon and Soderbergh are aware the game is rigged, and that biting attitude feels far more apt for our current age even though the film is set in the post-war “era of good feelings” (note: good feelings may only apply to white people who consciously ignore everyone outside of their racial and class spheres). No Sudden Move is all about how the game is played, and it has an understanding that crime doesn’t pay unless you’re in charge of all crime. All the backstabbing and double-crosses can be a bit exhausting, but the culmination is so satisfying that it doesn’t really matter that we’re not emotionally attached to these despicable characters trying to claw out an existence. ![]() It’s also a movie that gets better the longer it goes until its third act reveals the themes that the whole picture has been headed towards. The historical and social commentary is unmissable (the film isn’t set in Detroit on accident and pointedly knocks “urban renewal” as just a euphemism for removing anyone who isn’t white from the city), and gives the movie a texture to let you know that while Soderbergh is no stranger to crime stories, this is far more Traffic than Ocean’s Eleven. No Sudden Move, with its unique angles, mahogany hues, and gorgeous lighting makes for a singular period piece that draws us further into a world that feels like the post-war era with the varnish stripped off. He may not always hit it out of the park ( The Laundromat and Let Them All Talk serving as recent examples), but he’ll rebound just as quickly showing that he’s got creativity and style to spare ( Logan Lucky and High Flying Bird also serving as recent examples). Soderbergh has reached the point in his career where I think we’re taking him for granted. This kind of unrelenting bitterness and cynicism may be off-putting to some viewers, but in Soderbergh’s hands it goes down like a stiff drink. No Sudden Move constantly tells us that trust may be a foundation, but it’s a weak and brittle one people typically act for their own enrichment until they’re so powerful they no longer need to pay attention to money changing hands. We can see the consequences of Matt’s actions (his infidelity makes him a weak link to get the document) through the unfolding horror in the faces of his wife Mary ( Amy Seimetz) and children Matthew ( Noah Jupe) and Peggy ( Lucy Holt). Before the film has even completed its first act we know that Ronald and Vanessa are cheating together and that Matt is also stepping out on his wife with secretary Paula ( Frankie Shaw). Almost everyone is acting in his or her own self-interest with the most sacred bond-family-repeatedly shattered. ![]() This is not a movie about camaraderie and friendship but about short-lived mutual interest. RELATED: ‘No Sudden Move’ Writer Ed Solomon on Drawing From Real History to Craft a 50s Crime ThrillerĮd Solomon’s script is a cold, unforgiving affair. ![]()
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