“Sit in the front seat,” he tells Goynes when they first meet. Russo is a little dim but smart enough to be suspicious of everyone.
#NO SUDDEN MOVE HOW TO#
He’s a hustler who has a messy past with the gangsters and knows how to make things happen on the fly. Russo is paid more than Goynes to do the job, and his bounty is higher when the mob wants recourse.Ĭheadle is quietly commanding as Goynes, the smartest of the freelance criminals. A Black bellhop or waiter might give a knowing nod and wink to Curt during perilous maneuvers around white pursuers. Goynes’ property was taken during the city’s “urban renewal” phase, when whole neighborhoods were seized from African-American homeowners through corporate and court-approved eminent domain. He stashed a suitcase with a codebook he hopes will get him off the hook with crime lord Aldrich Watkins (Bill Duke) and help him earn enough cash to buy back some land he claims was taken from him. The scene which confirms any suspicions about the affair is a short film in itself.Ĭurt came out of prison with a plan. He’s Frank Capelli (Ray Liotta), who is in charge of organized crime in Detroit. Russo has been having a very dangerous affair with his boss’ wife Vanessa, played by Julia Fox. Mertz thinks he can sweet talk his way into a safe because he’s been screwing his boss’ secretary, played by Frankie Shaw. Most of the assaults are sucker punches, coming from unexpected blind spots.Įveryone in the film is corrupt, and everybody gets double-crossed. This is gonna be a punch.” This is one of very few warnings issued during the run of the film.
#NO SUDDEN MOVE FULL#
The heretofore mild-mannered, slightly bumbling, accountant for General Motors knows full well how this will affect any future job performance evaluation, but presses on with his blow-by-blow accounting. “I’m going to punch you now, sir,” Matt Wertz (David Harbour) advises his boss in a desperate scene. The angriest threats come out as barely perceptible whispers, while the beatings are often telegraphed. Like much of the dialogue, everything about the film is low key. There are no gadgets in sight, and the comedy is so subtle, you sometimes have to strain your ears to hear it. Written by Ed Solomon, this is as far from his work on Men in Black or Bill and Ted as can be imagined. Those factory-line manufactured vehicles pumped out emissions, darkening skylines like Soderbergh clouds his intent. Before Motown churned out hits, Detroit was best known for pumping out cars. Set in 1954, No Sudden Move lets the Motor City live up to its name. But that’s just the opening riff of a landlocked surf tune as No Sudden Move quickly rides a different wave on increasingly treacherous waters. It’s almost the plot of The Desperate Hours, the classic 1955 home invasion hostage thriller which starred Humphrey Bogart and Fredric March. Two of the mobsters have to babysit a family while the other one escorts the dad into work so he can pick up some papers.
#NO SUDDEN MOVE MOVIE#
He comes into the movie looking like he’s just finished burying a body. Kieran Culkin plays Charley Barnes, and he wears ulterior motives on his lapel.
#NO SUDDEN MOVE PROFESSIONAL#
Benicio Del Toro’s Ronald Russo is a dapper professional who doesn’t like having to look over his shoulder, and could use cold cash to improve his view. Don Cheadle’s Curt Goynes is newly out of prison and needs the scratch. It’s the ulterior motives.īrendan Fraser plays a button man named Jones who is putting a three-man team together for a contract job. The body count isn’t the most exciting part of the movie, though. Most of the other information trickles out like blood from exit wounds, as the film captures the most muted tones of classic film noir. Of course, any of those breaths can be a character’s last, which becomes apparent very quickly. This is a theft worth savoring, and Soderbergh gives the players room to breathe.
No Sudden Move is a heist film, but don’t go in expecting Ocean’s 11, in spite of the all-star cast. The biggest villains want things to disappear, and they certainly don’t want anybody talking about it. Everybody wants something, but they won’t say what it is. Secrets are like mascara, alibis are fedoras. Every character has something to hide, and nothing to say about it. The subtle eroticism comes from what’s under the sheets and behind the walls. Not in that sweaty between the sheets way best enjoyed up against a wall. Steven Soderbergh’s No Sudden Move is deviously sexy.
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