Out of Sight

Out of Sight ★★★★

When I watched Out of Sight, I couldn't help but notice the similarities between this film and Tarantino's Jackie Brown (that Michael Keaton cameo!). I guess that this way, Steven Soderbergh indicates that his film, like Jackie Brown, is based on a crime book by Elmore Leonard. The pointed dialogues of Ought of sight are hereby explained. It is now also clear why the theme and atmosphere are reminiscent of Tarantino. Soderbergh is, however, very austere and hardly absurd, which makes this film one of its own. His Out of sight looks very ordinary. With Soderbergh made a strong love story here. The acting of his protagonists Clooney and Lopez is a feast for the eyes and both look very sexy. Moreover, they know how to keep their continuous flirting throughout the film exciting and sensual. That is of course also the merit of Soderbergh. He gets the best out of his actors and from the supporting characters.

Soderbergh also gives his love set the full pound in a more cinematic way. Clooney and Lopez often come close to the screen. The interiors and exteriors in which they move are scantily furnished and efficiently exposed. Out of sight has been designed soberly that all attention must be focused on Jack and Karin. Furthermore, Out of sight plays at three places and at different times. He mixes Soderbergh firmly without ever becoming formalistic. Such an intervention always increases the tension of the crime story, or the erotic undertone of the love story. Out of sight can therefore be described as a Bogart / Bacall-love story without the usual Hollywood frills - which is, in my opinion, quite a pleasant thing.

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