Steven wins the award for coolest shoes on a Fisher in recent years and he certainly makes the films the way he wants them to look in a whatever it takes sort of mindset. So much so that modern Kowas are now a thing. These lenses are far from new and have been widely used across all sorts of projects. The wides were clearly a stylistic choice in my mind, didn't cry much about it. Many DPs love or hate that and there's not much room in the boat in the middle there over the years. Kowas have famously somewhat fisheye-like distortion on the wides. In this case it's one of his Monstros and he rented the glass from TCS New York, who are credited at the end of the film.įor the thoughts/critique on the distortion. Like the schemers and strivers peopling his vision of Detroit, the most he can hope for is to carve out and rule his own corner of a vast, ruthless business that he could never conquer in total.Does Steven still buy all his gear or does he rent? I know hes purchased a few ONE bodies, an Epic but after that I lost track on if he still purchases all his camera bodies or rents now.Įither way, I liked the look of the film, its much better than Michael Mann's Public Enemies which was a period film shot digital (Sony F23 and Digiprimes) and man did that film look like utter trash! Not downputting the F23 or those lenses as i owned both at one point, beautiful kit.He like a few folks, myself included, owns and occasionally rents gear as needed. Whether he has to shoot through Covid or shack up with streaming giants uninterested in theatrical releasing, he always makes it work. His most valuable skill seems to be in affecting the guise of commercial appeal to get his idiosyncratic, heady passion projects made. It’s all part of the game that Soderbergh has mastered this deep into a prolific and storied career, in which the objective is the appropriation of corporate funds for scathingly critical yet casually enjoyable anti-corporate art. The overstuffed, better-keep-up narrative suits the film’s purposes, occupying audience attentions to leave them unprepared for the nimble writing’s assorted baits and switches. It’s 1954 in Detroit and that sounds like a easy job. All he has to do is detain a family in their home at gunpoint for three hours and then he can walk away with 5,000. In their later scenes, heist films will often lead their characters to the realisation that This Goes All the Way to the Top Soderbergh and Solomon instead assert that we don’t even really know where the top is, and that we can scarcely conceive of the power and sheer enormity of influence wielded at the top.Īs the simple task of retrieving the mystery papers goes south, the nearly two-hour runtime condenses more plotting and diversion into the sequence of events, the best of it following a pair of irate mistresses. Curt Goynes, a two-bit criminal just out of jail, needs cash and lands a seemingly easy payday at the beginning of No Sudden Move. In this case, the precise nature of that manila envelope’s contents will be revealed, and with its revelation, the scope of the affair expands to proportions greater than these criminals and the pair of gangster bosses after them. They’ve come to compel him to steal some MacGuffin-type document, a vagary that a lesser film would allow to sit, its purpose of advancing the plot served. That delicate operation centers on crooks Curt (Don Cheadle), Ronald (Benicio del Toro) and Charley (Kieran Culkin) busting into the home of company man Matt (David Harbour) to hold his family at gunpoint. At any rate, he unobtrusively conveys the sociocultural context the average viewer will need: the Motor City is being carved up like a pie by the automotive giants at Ford, GM and Chrysler, leaving the human beings who have long occupied the area scrambling to hold on to the few rights they’ve got left. In this new HBO Max release No Sudden Move we’re whisked back to this period via rumpled vintage suits, the occasional bebop idiom dotting the dialogue, and a border-warping fisheye lens evoking a nostalgic past that may be more in Soderbergh’s imagination than cinema history.
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