Jack Foley is the luckiest robber in the country, having robbed over two hundred banks. One day, after escaping from prison, he realizes he must steal something more valuable than money… the heart of Karen Sisko. She’s smart, she’s beautiful, but unfortunately, Karen is also a prosecutor. Now it’s up to him to risk it all to see if there’s more between them than the Law…
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In 1998 Steven Soderbergh decided to take a break from his art-house experiments and make a genre film. As a result, Out of Sight received rave reviews from critics, many of them recognized it as the best film of the year. George Clooney has finally established himself as a Hollywood star. Audiences got one of the best screen adaptations of an Elmore Leonard book. Steven Soderbergh burst into commercial cinema, and since then has skillfully alternated between genre pictures and art-house works.
At first glance, the film’s plot does not shine with originality: we are faced with the standard story of a criminal who escapes from prison, goes to his last job and definitely decides that he would rather die than go back to prison. Scott Frank, on the other hand, opted for a non-linear narrative with constantly occurring flashbacks, giving a new side to the reveal of this or that character. Moreover, if the film had gone in chronological order, the same scenes would have been perceived differently by the audience. For example, the conversation between Jack and Ripley in his office looks completely different in the middle of the film than if it were at the beginning of the film, because we already know a lot about the characters, and such dialogues are perceived on a different emotional level.
The greatest contribution to the film’s success came from the actors, all of whom fit their roles perfectly. Steve Zahn’s first appearance on screen, before he even says anything, will make you laugh to your stomach. The utterly unrecognizable Albert Brooks not only makes the most gorgeous remarks, but also plays the facial expressions beautifully. Ving Rhames appears in a role completely unimaginable for him: a big bully who calls his sister to confess after every case. Don Cheadle, an excellent dramatic actor, is equally brilliant in a comedic role, but he also managed to create the image of an unhinged badass who makes the best jokes in the film with regular intervals. Dennis Farina, Samuel L. Jackson, and Michael Keaton appear on screen in one or two scenes, but that’s enough time for them to create memorable images.
George Clooney and Jennifer Lopez were the film’s main jewels. He was never that charming and she was never that good. Together they made one of the most memorable and unusual couples in nineties cinema. Jack is an escaped criminal, Karen is a federal marshal. Their first date was in the trunk of the car where Jack was hiding, escaping from prison and taking Karen hostage. But unlike most such situations, their conversation went about “what ifs,” Jack’s ex-wife, the movie industry, and other trivia.
A chance meeting develops into a mutual attraction. Even after the first half hour, you start to worry not about the seemingly main storyline – whether Jack will succeed in pulling off the last case or not – but worry about whether Jack and Karen will stay together. Soderbergh has a great sense of the changed situation and slowly leads the audience to the film’s main scene.
Two people. Him and her. A half-empty bar in a hotel. Snow outside the window. Dim lights. A one-on-one conversation. And even here the director stayed true to himself, constantly moving by means of montage between the bar and the hotel room. He created a terrific bed scene, avoiding any nudity, and an unimaginably beautiful prelude to it, where Jack and Karen sit at a table and talk to each other. And in those ten minutes the viewer’s heart is ready to jump out of his chest from the realization that we are facing the real magic of cinema, where everything ingenious is simple, but incredibly beautiful at the same time.
Steven Soderbergh has knotted all the strands of the script, the acting and the charm of the characters, added various color filters at his discretion, giving the necessary atmosphere to this or that scene, and created one of the most memorable films of the second half of the nineties of the last century.
The verdict: beautiful, intelligent, funny, a little sad and incredibly appealing.
Info Blu-ray
Video
Codec: HEVC / H.265 (79.3 Mb/s)
Resolution: Native 4K (2160p)
HDR: Dolby Vision, HDR10
Original aspect ratio: 1.85:1
Audio
English: DTS-HD Master Audio 5.1 (48kHz, 24-bit)
English: DTS-HD Master Audio 2.0 (48kHz, 24-bit)
English: DTS-HD Master Audio 2.0 (48kHz, 16-bit)
English: Dolby Digital 5.1
Subtitles
English SDH.
