avik-basu1889
Is it at times funny? Yes. Is it well shot? Yes. Does the chemistry between Clooney and Lopez work? Yes. However, despite some of its individual elements working well, the film as a whole felt a little too derivative, a little too predictable and a little too bland for me to be really impressed. It's good, but not memorable good.
YuunofYork
If Soderbergh has a style, it's bookish pacing and an undercurrent of realism in hyperbolic situations. His choices of scripts are uneven, if not typically on the bland side, but that's okay, because the writing is usually elevated by his choices in above-the-line crew (editing, cinematography, score) and knack for consolidating their work into a single voice. He also usually gets the best performances he can out of his actors, even if it means long hours or re-shoots. Out of Sight typifies this rocky marriage of stylistic integrity and dime store story. Soderbergh has called this film perhaps the most complete of his pictures, and in a structural self-contained way that might be true, but it is far from his best.Jack Foley (Clooney) is a man in his third act. A bank robber committed to his lifestyle, who following his third stint in the penitentiary, has lost any wide-eyed preconceptions he might have had about big scores settling all debts and landing him richly propped up on "some island". He drifts from job to job, annoyed but not surprised things are getting harder, looking not for a swansong, but more of the same. Yet the character is underwritten. He's a well-adjusted prisoner confident around and commanding the respect of tougher types, despite never having used a gun (even for show). He's a "good guy", who doesn't have a problem feeling up a woman at gunpoint, and doesn't worry over the safety of his partners in crime, except for Buddy (Rhames). Personality contradictions like these can be realistic, but they can also be bad writing. Karen Sisco (Lopez) has the same problem, a marshal who pursues men as bounties, lays, or if you're Jack Foley, both. Where does her allegiance lie? To everyone, apparently. Contradiction is the theme here, with former enemies in prison collaborating together on the outside, Buddy, whose commitment to a criminal lifestyle is intact only through a compulsion to confess for hours to his spiritual adviser/sister what he has just done, Sisco's investigator father who disapproves of one of his daughter's unsavory conquests, but not a more dangerous one - and so on. Contradictions may better mirror real life, but even in real life they are often frustrating to us pattern-recognizing humans who prefer to blur away such sharpness to make some sense of the world.The first half is told non-linearly; we see Foley and friends in prison, out, and back in again as we piece together the events that led them to the present, where sadly the story runs straight on until the end. It's a good trick to make an ordinary story more interesting and invests the audience in finding out what is essentially mundane detail, but once it behaves itself it gets far less interesting. There is some plot about uncut diamonds that everyone thinks is true despite telling each other is a lie, but this is secondary to character studies where the characters have no arc and wind up exactly where they were at the beginning.Still, all would be well if these characters, in the end, still felt like real people. Both Foley and Sisco are for the most part written too soft and fluffy for how hard they are supposed to be. This isn't the fault of Lopez or Clooney, although if they did have a choice which way to play it, both certainly went with cotton candy here. Still, this is some of their best acting, as are the performances from Cheedle, Rhames, Guzmán - at the time none of them exactly A-list, but certainly at their peak. One is tempted to say Rhames and Guzmán have become all but typecast in this kind of role, which is a shame, as are Lopez/Clooney's unfortunate excursions into broad, unsubstantial rom/coms.There is a tonal discrepancy marring the picture as well. It is an odd choice that nearly all of the humor is delivered by the most despicable characters, and it comes right before or after they do or were to do rape/murder. It worked in Pulp Fiction, where we see everyone both at their worst and their best, but in Soderbergh's film these are tertiary people who we differentiate in relation to each other rather than their actions and whose names we barely remember scene-to-scene, and whose only redeeming qualities are the two minutes they play the clown before going back to playing the monster. It's just jarring. I'm not sure how much creative control Soderbergh had over the Leonard story, but I wish he had subjected it to rewrites. There is some light entertainment here, but Out of Sight is not so much flawed as rough, like uncut diamonds decorating a fish tank. 6/10
Andrey Viun
Very interesting action film about a bank robber Foley (George Clooney) and policewoman Karen (Jennifer Lopez). Both are charismatic and play their roles really good. This film has interesting plot, nice characters, romantic love story and sexy moments. One of the most interesting moment here is when Karen and Foley are in the luggage rack and talk to each other, their dialogue is something to enjoy! They talk about Bonnie and Clyde another classic film from the sixties so from that moment its definitely they have sympathy for each other. The ending is also quite unexpectable when Foley returns to prison but Karen wants to deliver him there. It's not a masterpiece, but still a good film to enjoy!
