OUT OF SIGHT
Do you have memories of when a recognizable presence in the movies suddenly finds the right script, and becomes a fully-developed star right before your eyes? Looking back, I will have pleasant memories of "discovering" Bruce Willis in _Die Hard_, Julia Roberts in _Pretty Woman_, and "rediscovering" John Travolta in _Pulp Fiction_.
Well, fasten your seatbelts, folks. George Clooney and Jennifer Lopez have done it. After a couple of false starts, Clooney (who had a smaller role as _Batman_ than Alfred the butler) and Lopez (a.k.a. _Selena_), have broken out of their schlock and become cinema's latest smart, hot, sassiest couple. It also makes a strong comeback for Stephen Soderbergh, who broke new ground with _sex, lies, and videotape_ nine years ago.
The film starts intriguingly as a disgruntled Jack Foley (Clooney) walks out of an office building, furiously throwing his tie onto the ground. The film pauses at that moment; this is Soderbergh saying, "Did you catch that?" Over the course of the two hours, you will know the reason for his anger, and his impromptu decision afterwards: to rob a bank.
Foley pulls off one of the most suave, gunless bank robberies in movie memory. But after he does so, the film double-crosses itself, and he is easily caught after his car won't start. Such great twists are reminiscent of the film--smart people doing crazy things, and being done in by life's unpredictabilities. It's a great theme, and plays real well here.
Foley lands in prison. Only a matter of time will come where he will escape, and inadvertantly run into Federal Marshall Karen Sisco (Lopez), who wastes no time in using her birthday present-a flashy pistol. The two are subsequently locked in the trunk of the getaway car, where the sparks of an unexpected romance begin to brew. Days later, she's still thinking about him.
This all serves as the opening premise of a wildly imaginative ride that uses the talents of Ving Rhames, Don Cheadle, Steve Zahn, Dennis Farina, and a couple of pleasant unbilled cameos. Returning from the dead of movieland hell is Nancy Allen, aging gracefully. And stealing the show is Albert Brooks, even if his bald-wig is a little too obvious in some scenes.
_Out of Sight_ isn't perfect. Some of the scenes are a little too talky and Soderbergh's expiremental film style sometimes backlashes against him. I also found a few of the action scenes to be too easy; screenwriter Scott Frank (who also wrote _Get Shorty_, both of which originated from Elmore Leonard pulp) was not too concerned with great action sequences as he is with great dialogue. A good call, but it made me wanting more.
As for Clooney and Lopez, genuine star-power has come with a mighty gust of class and sass. Take a breath of the new wind. Get thee to a multiplex now.
Nick Scale (1 to 10): 8
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