Metacritic reviews

Lucky for us there are no ordinary circumstances in this smart, tasty adaptation of the Elmore Leonard novel and it gets quirkier, funnier and sexier as it goes.

In some ways Soderbergh does a much better job than Tarantino. He handles the time shifts more adroitly, always keeping us on track; he goes easy on the violence, and when he does unleash it, it's short, fast and ugly.

Works both as a great romance and a great, unconventional crime thriller. But step back from such distinctions, and it just looks like a great movie.

Soderbergh contrives the perfect voice for Leonard's prose--laid-back and grooving when it needs to be, but also taut, with the eerie foreboding of violence about to erupt.

Everything in Out of Sight is smart -- the dialogue, the characters, and the storyline.

Soderbergh appreciates the value of having fun with a so-so script, turning its cliches into fresh experiences and infusing energy into the margins of a predictable story.

Clooney has finally made a GOOD movie.

Steven Soderbergh's direction conjures an understated '70s vibe, striking an apparently effortless balance between grit and glamour.

Soderbergh and [screenwriter] Frank like these sidekicks so much that they overwhelm the leads — a fairly easy task, since Lopez has all the police presence of a Revlon ad, while Clooney again tries to skate by on his good looks and smirking charm.

Out of Sight engaged me less and less, until by the end I no longer cared which of the characters lived or died. Not even the engaging Jennifer Lopez, George Clooney, Albert Brooks, Don Cheadle, and Ving Rhames or the talented secondary cast can survive the abbreviations and last-minute shoehorning their characters receive.