368 reviews
Ah, 1998
Bill Clinton was still in the White House, the Gulf War had no sequel, gas was under $2.00 a gallon, and a kinda-known actress was in her pre-J. Lo/Jenny from the Block/Bennifer/media whore phase.
Back when she used to have a little (now she has a lot), Jennifer Lopez was actually enjoyable in Steven Soderbergh's 'Out of Sight.' I saw this in the theater when it came out and remember thinking it was one of the better films I'd seen that year. I watched it again last night on DVD, and I have to say that it still holds up. Clooney is finally given a worthy vehicle, and he and Lopez have actual, undeniable chemistry on the screen. The supporting players (especially the incomparable Don Cheadle) are perfectly cast. Soderbergh effortlessly knocks this one out of the park.
One critic gave the film two and a half out of four stars and claimed 'Out of Sight' was in need of a 'shot of adrenaline,' but I have no idea where he's coming from. When you think of all the bad movies that are released in any given year, you'd think you'd appreciate something like this.
Back when she used to have a little (now she has a lot), Jennifer Lopez was actually enjoyable in Steven Soderbergh's 'Out of Sight.' I saw this in the theater when it came out and remember thinking it was one of the better films I'd seen that year. I watched it again last night on DVD, and I have to say that it still holds up. Clooney is finally given a worthy vehicle, and he and Lopez have actual, undeniable chemistry on the screen. The supporting players (especially the incomparable Don Cheadle) are perfectly cast. Soderbergh effortlessly knocks this one out of the park.
One critic gave the film two and a half out of four stars and claimed 'Out of Sight' was in need of a 'shot of adrenaline,' but I have no idea where he's coming from. When you think of all the bad movies that are released in any given year, you'd think you'd appreciate something like this.
While I enjoyed this movie, and certainly wouldn't discourage anyone from seeing it, I feel it's been somewhat overpraised. I mean, come on, it's just a modest little caper movie for crying out loud, let's not get carried away. The main problem I had with it was the central relationship between Clooney and Lopez; I don't know, I just didn't buy it, they didn't convince me that they were so all-consumingly attracted to each other that they would jeopardize themselves the way they did. I think the initial conversation they had in the car would have needed to be A LOT better for me to go along with it all (although I couldn't say exactly how).
Of course, since I didn't buy the central relationship, the fact that I still liked the film is a testament to how well everything else in the movie works. The cast is uniformly great - from Ving Rhames as Clooney's guilt-plagued assistant to Steve Zahn's memorable stoner of a crook. The look of the film is superb, and the chopped up editing works exceptionally well. Of course, it's easy to get the sense, while watching, that a great deal of craft and style has been expended to cover up what is essentially a mediocre story. So be it. It still works, if just barely, and is good for an evening of light entertainment. But as far as Elmore Leonard movies go, it doesn't hold a candle to Get Shorty.
Of course, since I didn't buy the central relationship, the fact that I still liked the film is a testament to how well everything else in the movie works. The cast is uniformly great - from Ving Rhames as Clooney's guilt-plagued assistant to Steve Zahn's memorable stoner of a crook. The look of the film is superb, and the chopped up editing works exceptionally well. Of course, it's easy to get the sense, while watching, that a great deal of craft and style has been expended to cover up what is essentially a mediocre story. So be it. It still works, if just barely, and is good for an evening of light entertainment. But as far as Elmore Leonard movies go, it doesn't hold a candle to Get Shorty.
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)
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)
- Criticalstaff
- Apr 26, 2020
- Permalink
Chemistry so hot that they ignite the screen. Too bad it didn't ignite the Box Office, but Out Of Sight is one movie both George Clooney and Jennifer Lopez can feel damn proud of. Maybe it's the fact that George's criminal character is *actually* funny and multi-dimensional. Maybe it's the fact that the storyline actually has a story to it - and an interesting one at that. Hell - maybe it's just that J.Lo walks around in skimpy outfits - curves flaunted - and likes to kick butt. After much consideration, I must concur: it's equal parts to all 3.
Strong performances by Clooney (Jack) and Lopez (Karen), as well as George's Ocean's 11 co-star Don Cheadle. Witty script and likeable characters with a satisfying and plot-twisting ending. What more can you want? Did I hear you say Jennifer Lopez naked? Yeah well, you won't get that here... but it's good all the same!
Strong performances by Clooney (Jack) and Lopez (Karen), as well as George's Ocean's 11 co-star Don Cheadle. Witty script and likeable characters with a satisfying and plot-twisting ending. What more can you want? Did I hear you say Jennifer Lopez naked? Yeah well, you won't get that here... but it's good all the same!
- David, Film Freak
- May 31, 2002
- Permalink
Critically acclaimed, but definitely not universally seen, I can see both sides of the reasoning behind the attention Steven Soderbergh's Out of Sight may, or may not have received. Soderbergh's directorial breakthrough with indie drama Sex, Lies, and Videotape lifted him into the public spotlight as a notable presence in the film industry itself, but didn't gift him the commercial appeal of a Spielberg or Lucas. This was especially apparent after a number of commercial failures following Sex, Lies and Videotape. Out of Sight, represents his first self-acknowledged attempt to gain a foothold amongst the multi-plex masses. As such, in my opinion, it's a very well made, entertaining film. Not a great one, as some would have you believe, but a good one, worth seeing.
Out of Sight features many of the Soderbergh hall marks, in that it is a crime/heist thriller with multi-dimensional storylines, some nonlinear storytelling and quite distinctive lighting and cinematography. But nothing to the degree that finds the story being overwhelmed by pretensions to arthouse significance, as might be claimed of much of his earlier work. It also has a terrific cast, boasts a killer soundtrack and has a couple of really appealing cameo appearances. Michael Keaton bobs up midway through, as a cross pollinating character, both for this film and Quentin Tarantino's Jackie Brown. Then Samuel L Jackson emerges unexpectedly to wrap the movie up on a realistically positive, if not traditional Hollywood ending.
What it does have is a narrative based on an Elmore Leonard novel. Leonard novels translated to the screen invariably mean plenty of dialogue, albeit clever and humorous in a frequently blackish way, but a surfeit of dialogue that may conversely lead to perceptions of a lack of action. Think Get Shorty! Be Cool! The afore mentioned Jackie Brown! The list is extensive. Out of Sight is one of these movies; a 2+ hour film with lots and lots of dialogue and earnest discussions surrounding shady "jobs", both carried out in the past and planned for the future, but no big set action pieces. It's the storyline and the characters which are the focus here and none more important than the relationship between non-violent career bank robber Jack Foley (George Clooney) and US Marshall (runs in the family) Karen Sisko.
Their chemistry in their (surprisingly only) 2 key scenes is palpably intense and enjoyable. Both are very good with Clooney consolidating his growing A-list status at the time and Lopez proving, with a deliberately understated sexiness, she can really act and is more than capable of carrying a picture as the lead actress. Terrific support from the likes of Ving Rhames kind of doing what he does in Mission Impossible, Don Cheadle convincing as the jocular, but clearly dangerous key villain and Steve Zahn, as the nervy, out of his depth, comic relief who is the instigator of much of the later action. The bench is just full of abundant talent.
For this writer, Out of Sight, whilst not quite deserving of its critically showered, monumental status, is still a very entertaining, though talky, professionally made, fun, movie experience. It certainly deserved a greater audience on its initial release and likely needed to be promoted/handled better by its studio.
Out of Sight features many of the Soderbergh hall marks, in that it is a crime/heist thriller with multi-dimensional storylines, some nonlinear storytelling and quite distinctive lighting and cinematography. But nothing to the degree that finds the story being overwhelmed by pretensions to arthouse significance, as might be claimed of much of his earlier work. It also has a terrific cast, boasts a killer soundtrack and has a couple of really appealing cameo appearances. Michael Keaton bobs up midway through, as a cross pollinating character, both for this film and Quentin Tarantino's Jackie Brown. Then Samuel L Jackson emerges unexpectedly to wrap the movie up on a realistically positive, if not traditional Hollywood ending.
What it does have is a narrative based on an Elmore Leonard novel. Leonard novels translated to the screen invariably mean plenty of dialogue, albeit clever and humorous in a frequently blackish way, but a surfeit of dialogue that may conversely lead to perceptions of a lack of action. Think Get Shorty! Be Cool! The afore mentioned Jackie Brown! The list is extensive. Out of Sight is one of these movies; a 2+ hour film with lots and lots of dialogue and earnest discussions surrounding shady "jobs", both carried out in the past and planned for the future, but no big set action pieces. It's the storyline and the characters which are the focus here and none more important than the relationship between non-violent career bank robber Jack Foley (George Clooney) and US Marshall (runs in the family) Karen Sisko.
Their chemistry in their (surprisingly only) 2 key scenes is palpably intense and enjoyable. Both are very good with Clooney consolidating his growing A-list status at the time and Lopez proving, with a deliberately understated sexiness, she can really act and is more than capable of carrying a picture as the lead actress. Terrific support from the likes of Ving Rhames kind of doing what he does in Mission Impossible, Don Cheadle convincing as the jocular, but clearly dangerous key villain and Steve Zahn, as the nervy, out of his depth, comic relief who is the instigator of much of the later action. The bench is just full of abundant talent.
For this writer, Out of Sight, whilst not quite deserving of its critically showered, monumental status, is still a very entertaining, though talky, professionally made, fun, movie experience. It certainly deserved a greater audience on its initial release and likely needed to be promoted/handled better by its studio.
- spookyrat1
- Jul 21, 2020
- Permalink
Perhaps I'm one of the few people who thinks so, but if you ask me this movie is a little bit overrated. Don't get me wrong, I did like most of the movie, but it isn't as good as I expected it to be. The movie started very promising but than it lost most of my attention until the last 20 minutes or so.
I liked the idea behind the gentleman - bank robber who doesn't need a gun or a fast car to rob a bank. Clooney did an excellent job portraying this thief and I loved to see him play this role. I even liked Jennifer Lopez' role in this movie, even though she wasn't really exceptional if you ask me. She was too much the stereotypical female cop that has to prove she can do anything her male partners can, but than even better... ending up in bed and falling in love with the man she is supposed to throw in jail.
It's probably not easy to make an original movie with this concept, but I expected more from Soderbergh. I give this movie a 6/10.
I liked the idea behind the gentleman - bank robber who doesn't need a gun or a fast car to rob a bank. Clooney did an excellent job portraying this thief and I loved to see him play this role. I even liked Jennifer Lopez' role in this movie, even though she wasn't really exceptional if you ask me. She was too much the stereotypical female cop that has to prove she can do anything her male partners can, but than even better... ending up in bed and falling in love with the man she is supposed to throw in jail.
It's probably not easy to make an original movie with this concept, but I expected more from Soderbergh. I give this movie a 6/10.
- philip_vanderveken
- Nov 13, 2004
- Permalink
When released in 1998, "Out of Sight" was Steven Soderburgh's most mainstream film to date, after he burst onto the indie scene a decade earlier with "Sex, Lies, and Videotape". Based upon the novel by Elmore Leonard ("Get Shorty", "Jackie Brown"), the movie tells the tale of odd couple Jack Foley (George Clooney), a career criminal, and federal marshall Karen Sisco (Jennifer Lopez). After a unique first encounter, their paths continue intersecting, with various degrees of intent, to comprise the bulk of the story.
Similar to the Soderburgh-helmed "Ocean's Eleven", "Out of Sight" blends the standard apples and oranges of genres into a delicious smoothie. This is a drama, minus the driving intensity, light-hearted enough to pass as a comedy. It's a comedy, but not of the HAHA sort. The humor lies in things like Clooney's glances, JLo's relationship dilemmas, the paradox of Ving Rhames' self-righteous thief, and the sheer absurdity of Don Cheadle's gangsta. It's also a romance and a cop-and-robber story, but neither love nor crime is the whole point. All of these pieces unite to form a fantastic puzzle of a picture.
The tasty complexity is further deepened by the non-linear storytelling technique. Flashing backward here and there throughout the film is a good choice because the viewer can only fully understand the previous events with the 20/20 vision of hindsight. Plus it eliminates what could have been a painful first half hour of exposition, instead spreading the backstory through the rest of the film.
The stylistic singular color palettes for different locations that Soderburgh later used magnificently in "Traffic" are present here as well. From bright sun-drenched Florida to the ice cold blues of Detroit, this technique serves as virtual atmosphere, allowing one to determine the geography even without the convenience of titles. In a non-linear film like this, that ease in recognizing time and place facilitates comprehension of what is happening when. Unique among Soderburgh's work (to my recollection) is the film's use of occasional freeze frames. Stopping the picture for just a second or two, Soderburgh gently identifies poignant moments, obvious or not, allowing an extra moment to deservedly linger on them.
With the high technical accomplishments, the acting almost doesn't matter, but the slightly understated method works wonders. Clooney is his usual suave self, complete with snappy dialogue and a cornucopia of confidence. In a role that "Enough" can only dream about, JLo almost looks like a real actress (joke). She is absent her too-common ditziness and easily holds her own, despite being a tad too glamorous. Rhames, Cheadle, and Albert Brooks are their usual solid selves, playing parts both similar and drastically different from their wheelhouses. Everyone seems to have perspective in their parts, not utilizing excessive gravity or levity, but rather hitting the appropriate notes as they inhabit their roles to perfection. Ultimately you believe all of these actors in their parts, even if JLo's skirts are entirely too short for a federal agent.
Like "Ocean's Eleven", "Out of Sight" is a very good film, merging quality in all aspects of film-making into a fully enjoyable two hour experience. The main themes of crime and love are basic, so the movie doesn't soar to remarkable heights. But if you're looking for a brilliantly made film that you might have missed on its theatrical run, espy Out of Sight and settle in for a quirkily involving night. If you saw it a few years back, check it out again to see Soderburgh's foundation for his own excellence.
Bottom Line: A wholly absorbing movie that serves as a film-making clinic of brilliance. 8 of 10.
Similar to the Soderburgh-helmed "Ocean's Eleven", "Out of Sight" blends the standard apples and oranges of genres into a delicious smoothie. This is a drama, minus the driving intensity, light-hearted enough to pass as a comedy. It's a comedy, but not of the HAHA sort. The humor lies in things like Clooney's glances, JLo's relationship dilemmas, the paradox of Ving Rhames' self-righteous thief, and the sheer absurdity of Don Cheadle's gangsta. It's also a romance and a cop-and-robber story, but neither love nor crime is the whole point. All of these pieces unite to form a fantastic puzzle of a picture.
The tasty complexity is further deepened by the non-linear storytelling technique. Flashing backward here and there throughout the film is a good choice because the viewer can only fully understand the previous events with the 20/20 vision of hindsight. Plus it eliminates what could have been a painful first half hour of exposition, instead spreading the backstory through the rest of the film.
The stylistic singular color palettes for different locations that Soderburgh later used magnificently in "Traffic" are present here as well. From bright sun-drenched Florida to the ice cold blues of Detroit, this technique serves as virtual atmosphere, allowing one to determine the geography even without the convenience of titles. In a non-linear film like this, that ease in recognizing time and place facilitates comprehension of what is happening when. Unique among Soderburgh's work (to my recollection) is the film's use of occasional freeze frames. Stopping the picture for just a second or two, Soderburgh gently identifies poignant moments, obvious or not, allowing an extra moment to deservedly linger on them.
With the high technical accomplishments, the acting almost doesn't matter, but the slightly understated method works wonders. Clooney is his usual suave self, complete with snappy dialogue and a cornucopia of confidence. In a role that "Enough" can only dream about, JLo almost looks like a real actress (joke). She is absent her too-common ditziness and easily holds her own, despite being a tad too glamorous. Rhames, Cheadle, and Albert Brooks are their usual solid selves, playing parts both similar and drastically different from their wheelhouses. Everyone seems to have perspective in their parts, not utilizing excessive gravity or levity, but rather hitting the appropriate notes as they inhabit their roles to perfection. Ultimately you believe all of these actors in their parts, even if JLo's skirts are entirely too short for a federal agent.
Like "Ocean's Eleven", "Out of Sight" is a very good film, merging quality in all aspects of film-making into a fully enjoyable two hour experience. The main themes of crime and love are basic, so the movie doesn't soar to remarkable heights. But if you're looking for a brilliantly made film that you might have missed on its theatrical run, espy Out of Sight and settle in for a quirkily involving night. If you saw it a few years back, check it out again to see Soderburgh's foundation for his own excellence.
Bottom Line: A wholly absorbing movie that serves as a film-making clinic of brilliance. 8 of 10.
I had expected more of this film.I expected a great plot,charming characters and lotsa suspense and romance.Instead it turned out to be just a vehicle for Jennifer Lopez to show her acting skills and George Clooney to play a smartass charmer(hmm,isn't this familiar?).The story starts out well,but then it takes a 180 degree turn into a rather boring robber story.
First flaw with the film is the character of Glenn.What is the point with this awful,annoying character?!?This is where the film first starts to show signs of typical Hollywood stupidity.There is no need for this guy and he doesn't do ANYTHING.He was a major pain in the ass to me and I found it hard to keep myself from changing the channel every time I saw him.Second flaw is that there is no point with all the flashbacks, the use of them was exaggerated by the cocky and over-ambitious Soderbergh.The background story with Jack Foley and his inmate friends really fails to make a meaningful connection to the rest of the plot.
The pluses of this picture were Lopez and Catherine Keener,both good to look at and solid in their roles.Also Ving Rhames was quite good as the faithful pal Buddy.The showdown scene in the end where White Boy trips and shoots himself in the head was worth watching.Don Cheadle was OK,although not impressive.But George Clooney,although he didn't give a bad performance,failed to impress and really show himself as actor the way he did in "From dusk till dawn","One fine day" and "O brother where art thou?",and also "ER".Samuel L. makes a nice cameo at the end.
So my conclusion is that this film tried to be too much somehow.It betted on one horse too many.I had liked it better if it was more focused on romance than all the robbery schemes and the dark past of its main male protagonist.For me,who had expected it to be a hidden gem of late 90's,it was a disappointment(although not major).What the heck,at least we got to see Clooney and JLO do it.;)
First flaw with the film is the character of Glenn.What is the point with this awful,annoying character?!?This is where the film first starts to show signs of typical Hollywood stupidity.There is no need for this guy and he doesn't do ANYTHING.He was a major pain in the ass to me and I found it hard to keep myself from changing the channel every time I saw him.Second flaw is that there is no point with all the flashbacks, the use of them was exaggerated by the cocky and over-ambitious Soderbergh.The background story with Jack Foley and his inmate friends really fails to make a meaningful connection to the rest of the plot.
The pluses of this picture were Lopez and Catherine Keener,both good to look at and solid in their roles.Also Ving Rhames was quite good as the faithful pal Buddy.The showdown scene in the end where White Boy trips and shoots himself in the head was worth watching.Don Cheadle was OK,although not impressive.But George Clooney,although he didn't give a bad performance,failed to impress and really show himself as actor the way he did in "From dusk till dawn","One fine day" and "O brother where art thou?",and also "ER".Samuel L. makes a nice cameo at the end.
So my conclusion is that this film tried to be too much somehow.It betted on one horse too many.I had liked it better if it was more focused on romance than all the robbery schemes and the dark past of its main male protagonist.For me,who had expected it to be a hidden gem of late 90's,it was a disappointment(although not major).What the heck,at least we got to see Clooney and JLO do it.;)
Steven Soderbergh knows his way around the bizarre, nearly impossible story lines and can translate them to film as few others can. OUT OF SIGHT is a little masterpiece of film-making despite the fact that when it initially screened in 1998 it seemed to slip by theatergoers' attention. Based on the inimitable Elmore Leonard novel the story begs indulgence in credible situations but shines in quality of script and characterization and an atmospheric cinematic capturing of a dark, film noir comedy drama that grabs you by the head and holds you glued to the screen for the duration.
The story is rather simple on the surface - a jailed bank robber escapes with the help of his buddy and plans a major hit only to encounter a federal agent in pursuit of the two who becomes the love interest portion of this strangely convoluted tail. Subplots and sidebars are sprinkled throughout Soderbergh's telling of Leonard's story, serving to keep our minds alert and mesmerized by the plot development.
The cast is absolutely first rate with George Clooney, Jennifer Lopez and Ving Rhames especially pungent in roles that seem written for them. The strong supporting cast includes such fine actors as Steve Zahn, Catherine Keener, Don Cheadle, Luis Guzman , Isaiah Washington, Dennis Farina, and Albert Brooks. And for those who enjoy powerful sexual chemistry Clooney and Lopez offer some of their finest collaborative acting. This is a fine movie and one that doubtless in time will be considered and under appreciated Film Classic. Grady Harp
The story is rather simple on the surface - a jailed bank robber escapes with the help of his buddy and plans a major hit only to encounter a federal agent in pursuit of the two who becomes the love interest portion of this strangely convoluted tail. Subplots and sidebars are sprinkled throughout Soderbergh's telling of Leonard's story, serving to keep our minds alert and mesmerized by the plot development.
The cast is absolutely first rate with George Clooney, Jennifer Lopez and Ving Rhames especially pungent in roles that seem written for them. The strong supporting cast includes such fine actors as Steve Zahn, Catherine Keener, Don Cheadle, Luis Guzman , Isaiah Washington, Dennis Farina, and Albert Brooks. And for those who enjoy powerful sexual chemistry Clooney and Lopez offer some of their finest collaborative acting. This is a fine movie and one that doubtless in time will be considered and under appreciated Film Classic. Grady Harp
Nominated for best screenplay? I beg to differ. The dialogue in this movie was so weak, I almost turned it off in the middle. I suppose that I wanted to see what was going to happen at the end, but even that turned out to be stupid.
There were no real characters in this film. Everyone simply fit their stereotype and moved accordingly. Foley had never met Sisko before, and now he wants to bring her along on the prison break? Get real. I can't believe that this many people thought this movie was good or clever. The two main characters were obviously NOT in love, and didn't have any reason to be. There was no chemistry. Perhaps because they're both attractive, we are to assume that they can't help but love each other, but I didn't see that. If she is a law enforcer, it would take a hell of a lot longer to fall for a criminal - even if she has a penchant for picking the wrong man. I just think that the writers/directors/producers underestimated our intelligence as viewers on this one. It's probably better than Godzilla, but nowhere near as good as Jackie Brown, and not even in the same league as Pulp Fiction or Dog Day Afternoon...
There were no real characters in this film. Everyone simply fit their stereotype and moved accordingly. Foley had never met Sisko before, and now he wants to bring her along on the prison break? Get real. I can't believe that this many people thought this movie was good or clever. The two main characters were obviously NOT in love, and didn't have any reason to be. There was no chemistry. Perhaps because they're both attractive, we are to assume that they can't help but love each other, but I didn't see that. If she is a law enforcer, it would take a hell of a lot longer to fall for a criminal - even if she has a penchant for picking the wrong man. I just think that the writers/directors/producers underestimated our intelligence as viewers on this one. It's probably better than Godzilla, but nowhere near as good as Jackie Brown, and not even in the same league as Pulp Fiction or Dog Day Afternoon...
'Out of Sight' is one of those rare films that can boast of having class in every department. The direction, script, cinematography, design and costumes disply such an acute and almost natural flair for bringing Elmore Leonard to the screen that it should be made illegal to film any of his novels without these people. But the acting is in a world of its own. Farina, Keaton, Rhames, Cheadle and Zahn all bring depth, comedy and intelligence to their roles. All are eclipsed however by the irresistable pairing of Jennifer Lopez and George Clooney. Clooney has finally managed to act without peering beneath his eyebrows and the effect is electric. This is the part he was born to play. His charisma is tangiable, but there is also a sense of fatalism whihc makes his character all the more compelling. Lopez, after her screaming shit-fits in the woeful 'Anaconda' proves that sexuality must also equal intelligence. Her Cisco is a mouth-watering mix of sass, beauty and cut-throat determination. It is one of those moments when you can actually see a star being born on screen. Put Clooney and Lopez together, and you have the type of chemistry with which executives have wet dreams over
1988) Out Of Sight
THRILLER
Cat and mouse heist film from the Elmore Leonard novel centering on a professional thief, Jack (George Clooney) and the cop whose on his tail Karen (Jennifer Lopez). All I can say is that upon watching this almost seemed like this role was intended for Mel Gibson, but went to George Clooney because Mel was shooting another film, the character in this film often fiddles with his lighter without using it. And since Mel was a frequent smoker like he did when he was in "The Year Of Living Dangerously" the George Clooney character doesn't do anything with the lighter at all, at least as far as I remembered it. The first of a six films George Clooney starred with director Steven Soderburgh.
Cat and mouse heist film from the Elmore Leonard novel centering on a professional thief, Jack (George Clooney) and the cop whose on his tail Karen (Jennifer Lopez). All I can say is that upon watching this almost seemed like this role was intended for Mel Gibson, but went to George Clooney because Mel was shooting another film, the character in this film often fiddles with his lighter without using it. And since Mel was a frequent smoker like he did when he was in "The Year Of Living Dangerously" the George Clooney character doesn't do anything with the lighter at all, at least as far as I remembered it. The first of a six films George Clooney starred with director Steven Soderburgh.
- jordondave-28085
- Jul 3, 2023
- Permalink
An FBI-cop (Jennifer Lopez) who falls in love with a professional bankrobber (George Clooney) while he is making his way out of prison sounds pretty charming but once you see the movie you know it's just a lame excuse for director Soderbergh (Ocean's eleven) to film a romantic crimecomedy that must bring back memories to movies like Peckinpah's "The getaway". It's not a movie that bores but from the moment starts you know in whose arms Lopez will end and before the arrival, the director thinks it's necessary to tell the viewer some complicated tales (the movie has so many flashbacks that a box of aspirines is better on the table) and as said you can easily skip some minutes of the movie, you wouldn't have a miss a thing... Clooney plays in his (boring) Richard Gere-imitation (the charming grey owl) while Jennifer Lopez is a better actress than most people think, but all by all just an useless romantic vehicle that you forget the moment you turn the telly out.
- Didier-Becu
- Oct 29, 2003
- Permalink
I, too, had a little trouble buying that such an intense relationship was born from such a minor conversation between them in the trunk. However, when I was able to get past that inconsistency in the plot, I found a great movie. Clooney and Lopez have great chemistry and show that they are both actors worthy of recognition. I loved the editing--the choppy cuts and the freezing of certain scenes. And I have never seen a better seduction scene in my life. The supporting cast was great too, especially the incomparably zany Steve Zahn. And once I got past the improbability of the relationship being so intense that she would risk her career for it, I thought that the way that she did risk her career was just great. I laughed out loud at the scene when he waves to her from the elevator. That is just a wonderful illustration that not everything is clear-cut or easy to do. Clooney was phenomenal, so cool...and just resigned to his life. I loved it.
By the way, seeing this movie after Jennifer Lopez has launched her career in pop music simply infuriated me that Hollywood has all but lost a true talent to the world of bubblegum pop.
By the way, seeing this movie after Jennifer Lopez has launched her career in pop music simply infuriated me that Hollywood has all but lost a true talent to the world of bubblegum pop.
- Neptune165
- Nov 1, 2022
- Permalink
Boy, this is a volatile cast and a diverse one, from pretty boy George Clooney to pretty girl Jennifer Lopez to burly Ving Rhames and little Don Cheadle to explosive Dennis Farina and low-key comedian (usually) Albert Brooks. Yes, this is a strange cast.
The movie....well, it's okay but not as wild as the cast. At least it's entertaining, which is the name of the game. It won't win any awards, but you won't fall asleep watching it for the full two hours. Just be ready for lots of profanity.
It's a colorful movie, and this time I don't mean the cast. I mean there are some brilliant colors in here, making it a good visual film.
The movie....well, it's okay but not as wild as the cast. At least it's entertaining, which is the name of the game. It won't win any awards, but you won't fall asleep watching it for the full two hours. Just be ready for lots of profanity.
It's a colorful movie, and this time I don't mean the cast. I mean there are some brilliant colors in here, making it a good visual film.
- ccthemovieman-1
- Nov 7, 2006
- Permalink
Get real! A Marshal who runs all around the US chasing a guy on her own nickel...a marshal who never has to go to work or report to a boss?? The whole thing was unbelievable........
George Clooney however has incredible charisma....is incredibly sexy.....he could hold me hostage anytime :)
Steve Zahn who played bad boy wannabe Glenn gave the best performance of any of the cast in my opinion....Ving Rhames was excellent also.....
All in all it was mindless entertainment
George Clooney however has incredible charisma....is incredibly sexy.....he could hold me hostage anytime :)
Steve Zahn who played bad boy wannabe Glenn gave the best performance of any of the cast in my opinion....Ving Rhames was excellent also.....
All in all it was mindless entertainment
"Out of Sight" was one of the best movies of 1998, and yet it was ignored by moviegoers. I am amazed that most of George Clooney's movies fail, with the exception of "Batman and Robin" all of his films have been good. This film has good performances from a talented cast and great direction from an original story by Elmore Leonard. Highly reccomended.
Romance / heist movie about a federal agent (Jennifer Lopez) falling for a bank robber (George Clooney).
The story line is very average and it doesn't know if it wants to be a comedy or a credible heist drama; it fails at both.
Cameos by a couple of greats; Michael Keaton and Samuel L Jackson.
Even the super sex-appeal of a young Clooney and J-Lo cannot redeem this movie.
The story line is very average and it doesn't know if it wants to be a comedy or a credible heist drama; it fails at both.
Cameos by a couple of greats; Michael Keaton and Samuel L Jackson.
Even the super sex-appeal of a young Clooney and J-Lo cannot redeem this movie.
Expect good things in the future from everyone involved with this film, because they all come off nicely. Scott Frank gets Elmore Leonard just right, and Steven Soderburgh makes all the right decisions, pulling George Clooney's best performance out of him. Clooney has great chemistry with Jennifer Lopez, who is sly and tough as always. Their characters' conversation in a Detroit hotel bar is the sexiest scene I've ever seen. Albert Brooks and Don Cheadle are perfect, and Steve Zahn steals yet ANOTHER movie. The DVD is nice, if only for one deleted scene (right before the bathtub scene) that is hilarious, yet still never would've worked had they kept it in the film. SEE this film - and see how long the characters stay with you.
- ShootingShark
- Jul 23, 2005
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I like this film a lot - I thought its dialogue was pretty smart and the story a nifty spin on bank heists. What stood out for me though was the chemistry between Clooney and Lopez (the latter the sexiest role I have ever witnessed) - it made me adjust my polarneck on more than one occasion! Also the soundtrack is excellent (David Holmes and a couple of Isley Brothers tracks)
George Clooney is always good as the debonaire crook. Right from the start, he has a certain panache as he casually robs a bank - though he ought to have bought a more reliable getaway car. In and out of prison, he ("Foley") finds himself in possession of a US Marshall "Sisco" (Jennifer Lopez) whom he imprisons in the boot of her car after another of his robberies goes awry! His latest period of incarceration, however, introduces him to millionaire fraudster "Dick" (Albert Brooks) who is being ripped off for protection and in-prison luxuries by "Miller" (Don Cheadle). They vie, for a while, over this lucrative gent before deciding that the best plan is to join forces to relieve him of his reputed $5m in uncut diamonds hidden at one of his many properties. With the determined "Sisco" in pursuit, off they set on this quite entertaining quest with plenty of duplicity and the odd thwacking before an ending that is distinctly fishy. Of course there is some romance - "Sisco" and "Foley" certainly spark, and aside from the on-form Cheadle, Ving Rhames and the always slightly quirky Steve Zahn provide much added value as this otherwise procedural story moves along. It's far too long. At over two hours, the film struggles to sustain itself for periods at the start; it takes it's own sweet time to build up an head of steam, but once it gets going it has a genial charm to it and Clooney holds it together with a glint in his eye and his tongue in his cheek. Forgettable, but fun.
- CinemaSerf
- Aug 27, 2023
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Let me start off by saying this movie is nothing more than a vehicle for JLo and Clooney. It is not worth watching if you have a brain. I don't know what some people see in this movie to call it underrated but I would say it is quite overrated. JLo looks good and is completely unbelievable as a prison official. The escape scene is clumsy and ludicrous. The romance is forced and the story goes nowhere. I expected so much more but got nothing but a movie that lacked credibility, charm, suspense, intrigue, and humor. Everyone tries to act so tough and it just gets old after several scenes.
- SillyPuddy
- Oct 21, 2003
- Permalink