Steven Soderbergh is a fantastically eclectic filmmaker (you never know where he’s going to go next), but if you look back over his roughly 30 dramatic features it’s telling to consider how many of them are some variety of tricky old-school thriller or film noir powered by suspenseful screw-tightening.
I’m talking about the “Ocean’s” trilogy, the ebullient Elmore Leonard adaptation “Out of Sight,” the redneck heist thriller “Logan Lucky,” the deconstructed gangster mystery “The Limey,” the brooding noir “The Underneath,” the small-town grunge noir “Bubble,” the sex-industry noir “The Girlfriend Experience,” and the true-life-bumbler noir “The Informant!” Soderbergh has a prankish side, but the truth is he would have been right at home in the ’40s or ’50 churning out moody black-and-white thrillers like Robert Siodmak or Joseph H.
Lewis.His latest, “No Sudden Move,” makes that connection all the more explicit.
Opening on a gorgeous vintage version of the Warner Bros.
logo,
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