Out of Sight - Movie Reviews - Rotten Tomatoes

Out of Sight Reviews

Page 1 of 97
½ January 26, 2017
The film starts off promisingly, but stalls after 30 minutes... not quite my tempo. I couldn't bother to watch the latter half of the film.
½ January 23, 2017
Not necessarily unwatchable, but I didn't care for the characters or the implausible story. (First and only viewing - 1/23/2017)
½ January 14, 2017
Yes, it was entertaining. Not what I expected, but charming, sexy, and comedic at times. Great cast with a ton of cameos. Rating: 7.5 / 10
½ January 9, 2017
worth a watch clooney looks very different.
January 4, 2017
While many may find him quite smug on occasion, George Clooney is an actor whose easy-going charm and charisma are impossible to ignore, but these elements are only one of the things that make Out Of Sight great. Boasting Jennifer Lopez's best on screen performance I've yet seen, faint praise I know, a clever story told in a trippy but fun manner, a sharp, dialogue-savvy screenplay and a host of terrific supporting players including Ving Rhames and Don Cheadle. Its flippancy is what makes it work, with serious story elements interlaced with witty, sardonic humour, and while it may amount to a simple enough conclusion, and loses steam towards the end as it forgoes its tongue-in-cheek tone to bring everything to a rudimentary climax, the film is solid proof that the journey is often far better than the destination. Check it out if you ever get a chance.
½ January 1, 2017
This sets up an interesting premise in the first 30 minutes as George Clooney seems to be able to talk his way out of any situation. Unfortunately I didn't find the rest of the movie very compelling. Foley and Karen spend most of the movie apart so it's hard to build up much chemistry to where you think they should get together. I didn't really care about the big score they were trying to make. There are so many good actors in this movie but it just didn't hold my interest all the way through. Part of it may be Soderbergh. I went back and looked at which movies he's done and other than the Ocean's series I really don't like any of the ones I've seen.
December 10, 2016
Ending gets me everytime! Such an interesting film to watch!
½ November 26, 2016
Soderbergh's film is, if not exactly the very best Elmore Leonard adaptation, the closest anyone has come to faithfully capturing the joy of his prose. This was a star making vehicle for both Clooney and Lopez and they deserved it. This is both of them at their maximum screen appeal. They are supported by a fairly incredible cast including Ving Rhames, Don Cheadle, Steve Zahn, Albert Brooks, DEnnis Farina, Catherine Keener, Michael Keaton (reprising his "Jackie Brown" role) and Luis Guzman. While I wouldn't say this is Soderbergh's best film, it's the one I most enjoy.
½ November 12, 2016
Great movie from start to finish.
½ September 10, 2016
A very entertaining and well crafted film by Soderbergh.
July 21, 2016
It's got a good cast and a good setup. Unfortunately, 'Out of Sight' fails to live up to this, with a movie that just didn't grab my attention at all. Not one of Soderbergh's best, unfortunately.
½ May 28, 2016
This is the movie that made me realize Soderbergh could make smart commercial films. Soderbergh made some terrific films prior to this, like "Sex, Lies, and Videotape," "King of the Hill" and the very stylish "Kafka," but those were strictly arthouse films. Here Soderbergh takes a smart script by Scott Frank that adapts a very commercial Elmore Leonard novel with a cast of talented and gorgeous movie stars. George Clooney plays a bank robber who break out of prison and winds up kidnapping a federal agent, Jennifer Lopez, during his breakout. The two share a mutual attraction, but being on opposite sides of the law complicate things. The film's plot revolves around Clooney looking for a payout from a wealthy white collar ex-con who he protected in prison, but the film's real story is the complicated will they/won't they relationship between Clooney and Lopez. This film is easily the best film and best role that Lopez has had her entire career, and Clooney, who's filmography is filled with great films, this role and performance may arguably be one of his best. The dialogue is smart and funny, there is an amazingly strong supporting cast that includes Ving Rhames, Don Cheadle, Catherine Keener, Dennis Farina, Steve Zahn, Albert Brooks, Luis Guzmán, Isaiah Washington, Nancy Allen, Samuel L. Jackson in a bit part and Michael Keaton uncredited as Ray Ncolette, the same character he played in another Elmore Leonard film adaptation this same year, "Jackie Brown." But the real magic of this film is the chemistry between Clooney and Lopez. I could watch these two make goo-goo eyes at each other all day. From their first intimate scene when they are both sandwiched in a car trunk to the scene where they share a table at a nighttime high rise restaurant with snow falling on the city below, these who have to be one of the best on screen couples of all time. Elliot Davis richly photography the stars and composer David Holmes does a fine job balancing the films comedy with it's more moody moments. I think my only complaint about the film is that the climax drags on a bit, but it's still entertaining and I was super excited to see Nancy Allen laying the maid Midge (I've had a crush on her since "1941"). Overall, I consider this a real film classic that everyone should see if they haven't already.
½ May 23, 2016
Surprisingly good it started off as a thriller then turned into a comedy then into a romance then back to a thriller. Despite attempting 3 different genres Soderbergh manages to pull it off backed up by a strong performance from Clooney and a decent yurn out from Lopez..
May 20, 2016
5/10/2016: Ok at best. A great cast but a very forgettable movie.
April 24, 2016
Out of Sight has a lot going for it; the performances, writing and style are all compelling and underrated.
March 24, 2016
Intelligent screenplay by Scott Frank.
March 22, 2016
A crime film full of suspense and characters full of personality including George Clooney and Jennifer Lopez
December 13, 2015
Films glamorize criminality more than Ghirardelli chocolate commercials forget to remind you that sugar is bad for you, but I'm not complaining any time soon - so long as attractive actors and actresses continue to sin onscreen like they're the coolest people alive, puffing cigarettes and having clever existential glitterings of conversation, I'll be happy. Movies are a form of escapism, after all, and what's better than spending a couple of hours with do-badders who look good being bad? You forgot that Uma and John were playing pretty terrible people as they did the twist at Jack Rabbit Slim's. There's something enticing about living vicariously through individuals not affected by suburbia or midlife crises. We can save "American Beauty" or "Young Adult" for later.
"Out of Sight," one of the finest comedy thrillers in a decade full of them, never stops the crime train for a minute and never allows for us to let our guards down. It is a film that rides high on the fumes of witty exchanges and effortless self-regard, just three-dimensional enough to get away with being so damn artificially snappy and just artificial enough to three-dimensionalize the fact that this is a movie, just one that happens to be remarkably and irrepressibly engaging.
It is also widely touted as the role that made George Clooney a star and got him thrown into the typecast hell of playing charming, devil-may-care sinners. In "Out of Sight," he portrays Jack Foley, a bank robber so confident that the majority of his career has gone without gun use - he can easily convince a teller of a threat without actually having to prove himself. As the film opens, he's pulling yet another quick job (he's lost count) that travels down the wrong path after his car refuses to start. He's escaped jail time for years, with past encounters lasting long and throbbing with emptiness. This time, he refuses to give up. So he cooks up an escape plan that, more or less, works.
But as his right-hand man, Buddy (Ving Rhames), waits outside the prison grounds for his partner-in-grime to jump out of a clichéd underground tunnel, U.S. Marshal Karen Sisco (Jennifer Lopez) is also passing the time in her car; and though she has a shotgun in hand, her attempts to thwart Jack and Buddy mid-escape fail. She is kidnapped, thrown into the trunk of her own car with Jack, with Buddy driving away into the night.
But something strange happens: Jack and Karen find themselves liking each other, not in the way pals do but in the manner middle-schoolers dream of. Their trunk conversations consists not of threats and faux pas but of easygoing small-talk (Faye Dunaway, for instance, is a topic). It's a shame that she sides with the law and he smirks at it; then maybe they'd have something.
Yet even after escape ensues and separation becomes reality, the two are still fascinated by one another, chance encounters fueling their flirtations as Jack eventually turns toward another job with Karen hot on his trail, in the throes of investigation but also of sexual interest. At its heart, "Out of Sight" is a caper - but it's more fascinating when focused on the cat-and-mouse romance between its sexy leads, who have such crackling repartee that a mere glance emits a spark.
Despite the linkage that almost immediately connects the two before first viewing, I was not reminded of "Pulp Fiction" while watching "Out of Sight" but of "Jackie Brown." This is the second time I've watched the film (the first being three summers ago), and more apparent to me is Steven Soderbergh's tight handling of a screenplay with a lot of characters, subplots, and misunderstandings. Like Tarantino, he doesn't figure a drawn-out scene regarding character quirks is such a bad thing - it provides dimension that ultimately makes the movie funnier. As we get to know the people involved, the more they seem like human beings (just catered with awesome dialogue) who commit crime for a living only because there isn't anything else to do. But then there's Lopez as the good guy, who bears noticeable self-possession that is thunderously carnal but also subtly infuriating - why doesn't she make more movies like this? Clearly, she can hold her own next to big names.
By its end, "Out of Sight" only slightly flies of the rails and loses some of its steam, but it hardly undoes the vibrancy seen previously. This is a movie that sees dialogue as a virtue, characters as people and not objects. I am in awe of its intelligence, the way it so whole-heartedly refuses to commit to genre norms. It takes familiar characteristics and renews them, freshly and unpredictably.
Super Reviewer
November 15, 2015
Elmore 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 Walker
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