Out of Sight
1998, Crime/Drama, 2h 2m91 Reviews 50,000+ Ratings
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Steven Soderbergh's intelligently crafted adaptation of the Elmore Leonard novel is witty, sexy, suprisingly entertaining, and a star-making turn for George Clooney. Read critic reviews
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Maurice 'Snoopy' Miller
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Critic Reviews for Out of Sight
Soderbergh understands the flaky, funny spirit of Leonard's characters and he gets his cast to express it.August 4, 2013 | Rating: 4/5 | Full Review…
Out of Sight is slick in all the right ways.
Clooney is the most impressive he's been on film. Jack Foley feels real, not like some Hollywood improvisation. Foley is charming, handsome, graceful, cultured, energetic and disciplined. He just can't stop committing crimes.
The characters all seem to have known each other for years, referring to long-held grudges and resentments that only gradually are revealed to the audience. They're a seedy, petty, dangerous and delightful bunch.
After many mishaps, the art of bringing Elmore Leonard's novels to the screen is coming to fruition. This latest adaptation, by director Steven Soderbergh and screenwriter Scott Frank, gets it just about right.
[A] now-classic romantic comedy -- with plenty of action and suspense.
Audience Reviews for Out of Sight
Aug 29, 2017It's not that Out of Sight is some sort of monumental motion picture, however, it's a perfectly harmless feature film that entertains from beginning to end. It's one of Steven Soderbergh's more dated films, being that it was made 20 years ago, but it's also one of the sharpest in terms of dialogue and performances. On the outside, the romance between Jennifer Lopez and George Clooney is flooded with clichés. An underappreciated FBI agent falls for the very guy she's trying to take down. It's been done a thousand times over, and it's not like this time it's all that groundbreaking. But their romance is well-acted on both sides. Clooney does as good as he can playing bad-boy Jack Foley, but I'm not sure I can ever accept that face of his as an antagonist. And Lopez, who isn't known for her acting, is actually quite good as Karen Sisco. Unsurprisingly for a Soderbergh film, the cast as a whole is phenomenal. Clooney, Lopez, Cheadle, Zahn, Rhames, Keener, Farina, Brooks, Davis, Keaton, and the one and only Samuel L. Jackson round out one of the best ensemble casts of all time. The best part is, no one takes their jobs too seriously, but well enough to be effective. As I previously mentioned, Soderbergh's directing is a little dated. Part of it is because the way films were made in the 90's was way different than it is now. For one, the music they used seemed like something out of a cheesy adult film. I mean that in the most respectful way possible, it's just the vibe I got from it. The editing is also something I couldn't entirely get behind. It's obviously intentional on Soderbergh's part, but the weird pauses in shots before transitions to a new scene just seemed weird. With that said, Out of Sight is undeniably fun, smart, and re-watchable. There isn't a whole lot more you can ask from a movie. It's no Oceans' Eleven, but it's definitely something worth watching. 7.7/10Thomas D Super Reviewer
Nov 15, 2015Elmore Leonard had been writing crime and western novels as far back as the 1950's and has had numerous adaptations of his work: Paul Newman in Hombre, Clint Eastwood in Joe Kidd and Charles Bronson in Mr. Majestyk are just some of the more familiar ones. However, around the mid 90's there was somewhat of a reinvestment in his work. After the release of Quentin Tarantino's hugely influential Pulp Fiction in 1994, crime became cool again and Elmore Leonard became the go-to guy for the material. John Travolta would follow-up Pulp with an adaptation of Leonard's Get Shorty and Tarantino himself adapted Rum Punch into Jackie Brown. There were other TV Movies like Gold Coast and Pronto, Paul Schrader's misjudged Touch and the short lived TV series Maximum Bob. Steven Soderbergh then rounded them off with this stylish film that, arguably, handed George Clooney the first role that suited him as a fully fledged leading man. Jack Foley (George Clooney) is a career bank robber that's done his fair share of jail time. After a recent breakout, he heads for Detroit to pull off his final job by relieving tycoon Richard Ripley (Albert Brooks) of his uncut diamond stash. However, Foley has to contend with other ex-cons with the same idea while evading the law and his infatuation with US Marshall Karen Sisco (Jennifer Lopez). Opening with the most remarkably cool and composed bank robbery you're ever likely to see, it's clear from the offset that Soderbergh and Clooney are on very fine form. The mood is also helped by an excellent score by David Holmes that taps into a 70's caper vibe while Soderbergh employs a whole host of stylistic, directorial flourishes; he cleverly plays with the time frame throughout the narrative with complex use of flashbacks and freeze frames and puts a fresh spin on film noir. Anyone familiar with Leonard's novels will be fully aware of his colourful characters and sharp, snappy dialogue. In bringing them to the screen, Soderbergh assembles a rich gallery of performers; despite Leonard envisioning Jack Nicholson or Sean Connery as Jack Foley when he sold the film rights of his novel, it's a role that fits Clooney like a glove. He brings the requisite charm and charisma and it remains one of his most perfectly suited roles to this day. He's accompanied by a stellar supporting cast too; Jennifer Lopez is not normally someone I'd rate very highly but she delivers some strong work as the doggedly determined Federal Marshall and shares great chemistry with Clooney. Ving Rhames brings his usual reliability as Foley's right hand man, Buddy Bragg while Steve Zahn adds welcome comic relief as stoner, Glenn Michaels. It's the dialogue and interplay between all of these characters that's one of the films major highlights and it provide numerous light, entertaining moments. However, these moments are balanced out with a well judged element of danger. For the most part, the personalities seem flawed and comical but Don Cheadle's chillingly psychotic Snoopy Miller, in particular, is a sobering reminder of what's at stake and what some of these career criminals are capable of. Despite the story predominantly taking place amongst unsavoury criminals, you could say that this is as much as a romantic drama as it is a crime drama and Soderbergh handles them both (and the comedy elements) with a deftness. The non-linear approach demands a certain concentration as it zips back and forth while teasingly bringing everything together. When you talk about the post-modern cool of 90's crime movies then this is certainly worthy of inclusion. Crime may be the angle of it's characters but the real crime was this being overlooked upon it's release. It didn't do well at the box-office and many have yet to still uncover this gem. Having been well versed in the work of Elmore Leonard over the years, I have to say that Soderbergh and screenwriter Scott Frank do an exemplary job here. Adaptations of Leonard's work have rarely been better. Mark WalkerMark W Super Reviewer
Oct 04, 2013Often out of mind when recounting film adaptations of the late great crime-comedy (cromedy?) writer Elmore Leonard, the super-slick slice of noir known as Out of Sight actually proves funnier than Get Shorty, out-and-out cooler than Jackie Brown, and sexier than both put together. At times smolderingly hot and steely cool, the film radiates so much sizzling chemistry, humorous warmth, and edge-of-your-seat chills that you literally want to reach out to see if you'll get burned or frostbitten. Leonard's dialogue and characters always crackle but here, all involved create a perfect storm of great material and intelligent translation. It's THAT cool. It's THAT cool looking. In this R-rated drama, a career bank robber (Clooney) breaks out of jail and shares a moment of mutual attraction with the US Marshall (Lopez) he has kidnapped. Establishing Steven Soderbergh as a H'Wood player beyond the indie sensation Sex, Lies, and Videotape, Out of Sight is blockbusting proof that filmmaker can retain their DIY sensibilities and rebellious edge in popcorn cinema. Masterfully shot and edited, he uses Devil's-in-the-details devices like color (Hell, this guy uses blue to better effect than Michael Mann) and overlaid audio (the previous scene's dialogue continues to play out even if the camera's moved onto the next scene) to set a mood. Indeed, without this semi-polished gem, there would be no Traffic or Oceans Eleven. Plus, former TV star George Clooney stopped performing and started acting with this film. He nails the wit and spit of whip-smart lovestruck bank robber Jack Foley so well that you truly wish that crime DID pay. Likewise, Jennifer Lopez delivers sultry and tough-as-nails as a no-nonsense arm of the law in one fell swoop. Their meet-cute in the trunk of a getaway car is one of the sexiest scenes ever committed to celluloid...and they never even kiss in the scene. It's all part and partial to a film with a slang-inspired title that exemplifies truth in advertising. Maximum Cool.Jeff B Super Reviewer
Apr 05, 2013Pretty good caper flick performance-fueled by the chemistry of the cast, particularly Clooney and Lopez as law and disorder respectively. Leonard's story though, as usual, is the real star. And a decent romantic scene filmed entirely in the trunk of a Ford.Kevin M. W Super Reviewer