Surprisingly incoherent and boring

Powerful

i must have seen a different film!!

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

Soderbergh rounded up a superb ensemble of actors with G. Clooney (in his most dashing) as Jack, and J-Lo (in her most acclaimed performance yet) as Karen, the U.S. Marshall who gets abducted after Jack's prison break attempt, a romantic pair well complemented by a variety of supporting players. Rhames and Zahn are charmingly amusing as the religious and genial Buddy and the inept dope-head Glenn, respectively, two friends that Jack met in prison. Cheadle's character Maurice which is a foil to Clooney's affable Jack is more annoying than really threatening but an amusing in its own way with his henchmen Washington as Kenneth and Loneker as White Boy Bob which are kind of one-dimentional in just being border-line farcical tools, but that kind of works and were crucial elements that helped the film's success. A joy to watch as well are Farina as Karen's endearing father and Brooks and the hard-pressed Ripley, a disreputable businessman both Jack and Maurice met while serving time in prison. Keener, Guzman, Allen, Jackson, Davis, and the Keaton character whose cameo is a priceless gem which happens to be the same one the underrated actor did in another Elmore Leonard novel-turned-film, Jackie Brown. Each and every one were consistently remarkable in their understatedness but still manages to be such memorable characters owing, of course, to Leonard's crafty achievement in developing the narrative. The subtle success of this film also has something to do with the sumptuous cinematography, the unobtrusive musical score and the brilliant use of the non-linear storytelling accomplished through excellent editorial decisions made, which is kind of a Soderbergh signature, all executed seamlessly by the film editor to focus more on the Jack character. And then the highlight of the film and serves as the film's centerpiece is the one where Jack and Karen meets in a hotel bar and their conversation which is eventually intercut with the flash-forward intimate scenes between the two leads, all of which is an elegant exercise in cinematic homage to that notoriously sensual scene in Roeg's Don't Look Now between the married characters of actors Sutherland and Christie. And for Soderbergh to bridge the thematic issues that both these films share is a shrewd move. Though it seems to be unoriginal, all he did was to cling his film to that psych-thriller, and in that regard he comes out triumphant. Only a classy film deserves to be mentioned side-by-side the DuMaurier film adaptation. Connecting this film through the use of that technique, the one Roeg implemented if not pioneer in the 1973 film, and I say it by no means with any disrespect to Roeg and his gang, Soderberg and his crew kind of owned it for a while.A cinematic fine wine to savor and appreciate every now and then. My rating: A-plus.

After watching a lot of movies,you get the feeling you have seen it all.Once in a while you get a movie that's imaginative.It takes a great director and script to mine out the best of all the cast.George Clooney and J-Lo are at their best here,and anyone who says they can't act needs to see this.This movie hooks you right from the beginning and doesn't let go

George Clooney's protagonist Jack Foley, is a handsome and extremely charming guy, an incurable romantic, not an advocate of violence and has the proclivity for being a modern-day knight errant, so maybe, bank-robbing is not such a fancy profession for him, but actually, he does it pretty well. In the opening scenes, it is all easy-breezy for him to talk through a young female bank clerk to give him the cash, only his exit plan hits a snag.During his prison-break, Jack and his loyal partner Buddy (Rhames) hold hostage Karen Sisco (Lopez), a U.S. Marshal, a burgeoning romance has been kindled between Jack and Karen, when they squeeze together inside the trunk of the vehicle on the exit route, the closeness of a confined space really works as a hotbed for sexual attraction, and they are talking about movies about Faye Dunaway and Robert Redford along the way.Karen manages to escape later, but becomes involuntarily preoccupied with him, she follows all the leads to track him down, and finally in Detroit, their simmering affections evolve into one night of passion, but Jack's real intention is to steal some uncut diamonds from a Wall Street millionaire, Richard Ripley (Brooks), a fellow prisoner whom Jack and Buddy have met three years ago. In order to furthermore strengthen that Jack is the bad guy we are rooting for, Maurice Miller (Cheadle) is introduced, a ruthless murderer, who is also eyeing for the diamonds, with his two underlings, a cretin White Boy Bob (Loneker) and a former boxer Kenneth (Washington). The climax is a home invasion with a taut suspense and a pretty up-tp-scratch happy ending.OUT OF SIGHT is Sundance wunderkind Soderbergh's seventh feature film and his first dalliance with mainstream production (for Universal), it becomes a critical success with 2 Oscar-nominations (for editing and screenplay), the editing job of Anne V. Coates is essential to integrate the intentionally disarranged story lines to a hipster fashion which perks up the golden-hearted criminal cliché; Scott Frank's adapted screenplay puts much weight on the comedic fodder out of the dangerous work from its source novel; also ornamented by a posh soundtrack and frisky cameos from Michael Keaton - who reincarnate as Ray Nicolette from Tarantino's JACKIE BROWN 1997, another Elmore Leonard's adaptation - and Samuel L. Jackson, as the kindred spirit inmate of Jack in the code. In retrospect, it has become a breakthrough for Clooney, who radiates both civilised sophistication and childlike nonchalance, a symbol of Clooney's own raw sex appeal in its peak, and incredibly heats up the screen with Jennifer Lopez, whose often problematic acting aptitude magically works this time. Don Cheadle gives a committed impression in the villain default, and it is always nice to see Catherine Keener and Viola Davis on the screen, but personally I find Steve Zahn's outstanding portrayal of Glenn Michaels, Jack and Buddy's cowardly partner-in-crime, stands out eventually, it is a sidekick who doesn't usually deserve our compassion or even attention, but Zahn supplies him with rather empathetic efforts to cement his feelings: fumbling frustration, palpable fear and an expedient sense of desperation.

Jack Foley (George Clooney) is a lifelong smooth operator bank robber. He escapes from prison with the help of Buddy Bragg (Ving Rhames) and grabs US Marshall Karen Sisco (Jennifer Lopez) on the way out. She talks her way out by convincing weak minded Glenn Michaels (Steve Zahn). Foley is after some diamonds, and Sisco is put on their case. Only she might be falling for him.Director Steven Soderbergh has narrow the focus. This is simply one hot sexual innuendo after another between Clooney and Lopez. It does get slow and J Lo does get too cool at times. But it's a slow cool burn that heats up the whole movie. Clooney is a perfect sly fox. The game play between the two leads absolutely sings.