Out of Sight (1998)

R   |    |  Comedy, Crime, Drama


Out of Sight (1998) Poster

A career bank robber breaks out of jail, and shares a moment of mutual attraction with a U.S. Marshal he has kidnapped.


7/10
87,344


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  • Catherine Bell at an event for Out of Sight (1998)
  • Albert Brooks at an event for Out of Sight (1998)
  • Paul Thomas Anderson and Fiona Apple at an event for Out of Sight (1998)
  • Steven Soderbergh in Out of Sight (1998)
  • George Clooney and Ving Rhames in Out of Sight (1998)
  • George Clooney and Jennifer Lopez in Out of Sight (1998)

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Reviews & Commentary

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User Reviews


27 April 2020 | Criticalstaff
7
| A Prequel to Ocean's Eleven.
This movie is okay, it did not provide me much excitement. It is a noir-love story buried inside a heist movie inside an action film.

However the movie is more interesting for everything that surrounds it rather than what happens in it. It is funny to see how similar it is to the Oceans' movie. They share all the same ingredients, except for the brutal violence that is in this movie. But the rest is pretty much on point, the camera work, the music, the dialog, the characters, even the tone with the witty funny light hearted lines.

The actors are what elevates the film : the plot is very simple but it has this old-school-hustlers charm to it. The film has flashbacks and attempts to do non-linear storytelling, but it is not necessary, the characters actions drive the movie.

George Clooney is suave robber Jack Foley, a character that is suave and cool, but not too much. He is street-wise and self-aware, he is the thief with a heart of gold. He is smart but that does not prevent him to fail in almost any of his schemes. We root for him not only because he his cool but also because the odds are against him. A character so efficient so relatable, so compelling that it will be the basis for glamour-superstar Danny Ocean.

Jennifer Lopez is young try-hard Jennifer Lopez. It is endearing to see the freshness and naivete of her character. She is basically the female love interest and her role revolves around being obsessed with Clooney. Again the contrast modern Jlo is the most enjoyable.

Don Cheadle plays the over-the-top villain. It works because is roughness and brutality play off against Clooney's smoothness.

The heist barely matters really, and that is where the film achieves balance. The universe is grounded and realistic (very violent and raw), but the characters effortlessly glide through it. I think that it gives the edge that was lacking in the Oceans' and therefore made those movies rely more heavily on swagger and bravado rather than charm and wit. In Ocean's the world is effortless and cool and suave, the characters are cool and effortless and suave : it deflates the tension somewhat. In Oceans defence, it make the film more palatable for the mainstream. This film on the other hand cannot really escape its genre. It stays in the bounds of the action movie.

This movie really acts a stepping stone for Clooney : it is part Dusk Till Dawn with the gruesome crime story and part Ocean's Eleven with the light hearted heist with no stakes. The movies sexuality is also somewhat interesting. It is very difficult to watch in a post-me-too world. But in a strange way, it reinforce the overall sexual violence that the film portrays. All in all it is a reflection of its era. I believe it stands next to Heat, Reservoir Dogs and others as part of the 90s golden age of heist-movies. The lost art of a simpler time.

Also the best-scene of the film is when a van drives up a snow-covered alley. The mesmerizing way the tires plow through the fresh snow is something I don't recall having seen in film. (Was it special effects ? was it one take ? we may never know)

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Did You Know?

Trivia

Steven Soderbergh saw this film as a conscious decision on his part to climb out of the arthouse ghetto. He had to do a film like this because half of the business was still off-limits to him.


Quotes

Karen Sisco: I'm sale rep, and I came her to call on a customer, but they gave me a hard time, because I'm a girl.
Jack Foley: Is that how you think of yourself?
Karen Sisco: As a sales rep?
Jack Foley: As a girl...


Goofs

The holes that Karen shoots in the trunk of the car have disappeared by the time she gets out.


Alternate Versions

The laserdisk/DVD versions contain the following deleted scenes.

  • The original trunk scene, much much longer with extra dialog, different lighting and more wriggling.
  • Moselle is teaching Snoopy's dog "Tuffy" to do tricks with a Frisbee while Snoopy is watching boxing on TV. Glenn calls to tell Snoopy about the Ripley job and then steals a car from a gas station.
  • In a bizarre scene in the Adams Hotel room, Buddy and Jack talk about the feeling you get when you take a bath.
  • Karen gets a lecture from her dad about relationships while he fishes ocean debris out of his jetty.
  • Extended scene of Karen questioning Adele.
  • In the yard at Lompoc, Ripley talks to Foley about fish.
  • Glenn, Snoopy, Kenneth and White Boy Bob talk in the car after the transsexual murder.
  • We see the rather gruesome transsexual murder scene. Ray Cruz talks to Karen who spots Glenn's broken glasses on the floor.
  • Ripley is released from Lompoc and we see him packing stuff from his cell and saying goodbye to Foley.
  • After the job "interview" at Ripley's office building, Foley smashes a large fish tank with a paperweight shortly before being thrown out by two security guards.
  • Foley and Buddy talk in the hotel after Foley has returned from his "socializing" with Karen
  • Putting ski masks on in the van before the Ripley job. White Boy Bob tells a story about leaving his wallet behind at a break in.


Soundtracks

It's Your Thing
Written by
Rudolph Isley, Ronald Isley and O'Kelly Isley
Performed by The Isley Brothers
Courtesy of Epic Records
By Arrangement with Sony Music Licensing

Storyline

Plot Summary


Synopsis (WARNING: Spoilers)


Genres

Comedy | Crime | Drama | Romance | Thriller

Details

Release Date:

26 June 1998

Language

English, Spanish


Country of Origin

USA

Filming Locations

Angola, Louisiana, USA

Box Office

Budget:

$48,000,000 (estimated)

Opening Weekend USA:

$12,020,435 28 June 1998

Gross USA:

$37,562,568

Cumulative Worldwide Gross:

$77,745,568

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