The old noirs were tightly structured, but everything in them played as a spontaneous eruption of passion and fate. The plot thickens all the more when it turns out that our antiheroes have been set up they aren’t scheduled to walk out of that house alive. Macy in “Fargo,” gets to his office, he discovers that the document isn’t there. (That’s how he’s supposed to get into the safe.) And when the nervous, bumbling Matt, who’s reminiscent of William H. Wearing masks that look like Ace bandages with eye holes, the three break in, and the scenes in the Wertz home have a hair-trigger excitement that evokes the 1955 Humphrey Bogart noir “The Desperate Hours.” From the start, there are complicating circumstances, as when one of the crooks reveals that Matt is having an affair with his secretary. They’re to enter the home of Matt Wertz (David Harbour), an accountant for GM, and spend a few hours holding his wife and children hostage while Matt gets taken down to his office, where he has to retrieve a mysterious document from his boss’s safe. These two freelance thugs get hired, along with the flaky scoundrel Charley (Kieran Culkin), to bring off what looks like an easy assignment. The two main characters are a natty porkpie-hatted underworld hustler, Curt Goynes ( Don Cheadle), who has an oblique messy history with some of the gangsters who’ve employed him and the disreputable baby-faced smoothie Ronald Russo ( Benicio Del Toro), who’s a racist, a backstabber, and the kind of lowlife who tempts fate in regard to the ruthless crime boss Frank Capelli (Ray Liotta) by sleeping with his wife (Julia Fox). In noir, the heroes tend to be sleazy compromised men, and on that score “No Sudden Move” doesn’t disappoint.
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He has also made a movie in which everyone is double-crossing everyone.
logo, it’s a down-and-dirty, multi-tentacled crime thriller set in the racially polarized Detroit of 1954, and Soderbergh revels in the period trappings: the rounded cars and stylish baggy clothes, the elegant brick-based architecture, the surface ’50s “innocence” that now looks like it was designed to conceal corruption. Opening on a gorgeous vintage version of the Warner Bros.
His latest, “ No Sudden Move,” makes that connection all the more explicit.
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