Soderbergh's movies have always had no shortage of big stars, and this time is no exception. Matt Damon, who has worked with him in the "Hidden Sky" series of films, also appeared in the second half of the film, playing the role of Mike Lowen of the Automobile Association.
Although he didn't play for a long time, he used a long line to accurately tell the connotation of the film. In this scene, Curt and Ronald came to the hotel with the confidential documents the car tycoons wanted, in exchange for Lowen. On the surface, it seemed that two gangsters controlled the situation, but Mike Lowen said so.
I know you think we're playing by your rules, but let's be clear. You do not make rules, ever. You follow them, even when you think you have autonomy, even when you think you have control. That is illusion. You 're under the illusion of control at all times. This is fact. It is a fact that you'll never understand, that you'll go to grave not understanding. The same way I'll go to the grave not understanding the genius God of magnificent universe because I did not create it, but I and the others like me did create these rules, in this world, on this field, and you're playing by them now even if you walk out with my money. Am I clear?
——This can actually be seen as what all the rich say to the poor or the working class: the rules are always set by them, and the leeks are just playing with the rules, drifting with the flow, even for a moment, you feel yourself strangled It's just an illusion that someone's throat is under control.
Ronald basically didn't listen to the long talk, and replied: What I know now is that your money is in my hands. Then Mike Lowen expressed his disdain again.
Ah, it's money. I have a lot of money. I will continue to have more. It's like a lizard tale. Cut if off and the damn thing grows back.
——The same is true for the rich in reality. Wealth grows when they work, and when they sleep, it grows. The ending of the movie is also like what he said. The money given out is like the tail of a lizard. The way is long to go back. When he gave it to him, he also expressed his pain, and when he came back, he also showed a stingy side. Matt Damon, who didn't play much, showed the character's unkindness to the fullest.
Another person who has starred in the Lohan series is Don Cheadle, the actor of Curt. This is not the first time he has collaborated with Matt Damon and Soderbergh. This "Don't Move" is the opening scene with his role as Curt. Curt, who had just been released from prison, took a job, and took the hostage for three hours to get a reward of five thousand dollars. It seemed too good to be true. Don Cheadle's Curt always has a kind of calmness in which everything is under control, although sometimes he is actually panicked, and the performance is very measured.
It was a team of three who performed this single task. Charlie (the first on the right) is Kieran Culkin, the youngest son of the Roy family in "Inheritance". Charlie's irritability and instability are also portrayed very realistically. The director also added French fries and a mask to Charlie. The details are unforgettable. The mask is itchy or not, so he teased Covid by the way. From the beginning, it can be seen that Charlie knows more about this task than the other two people, and you can guess that this single job will definitely go wrong. It may be the Coen brothers' corpses all over the country, but obviously he didn't guess it right. .
I didn't feel that the film was slow in pace. It was progressive, slowly delineating the power levels of Detroit in 1954. Ronald showed obvious racial discrimination when he first saw Curt, and he had to carefully wipe the place where Curt had sat before sitting. The two gradually entered into cooperation, thinking that it would be "a smile and a grudge, and the brothers are here."
Ronald’s sense of superiority over Curt is at the bottom of the power pyramid. Then because the mission went off track, the two were hunted down by two gangs, so the audience met the bosses on both sides, the black gang’s Watkins and the Italian leader Frank Capet. profit.
Jones is the intermediary for this mission, and the position is probably similar to Capelli. I thought the underworld boss would have reached the top, no no no, Jones and Capelli have Nespers on top, and Nespers has Matt Damon on them. As the characters Curt and Ronald see higher levels, the money they can get is more and more, from 50,000 to 12,500 and finally to 375,000. In the middle, there are all talkers, and he didn't see the real money until Matt Damon came out.
There is suspense at every level. Can't stop watching.
In the robber scene, there is also an emotional scene. At the beginning, I was worried about the hostage family, lest it suddenly become bloody like the Coen brothers. The goal of the mission is the host of this house, Matt Wertz, and the actor David Harbour usually has a weird appearance and a serious appearance in the play; the hostess Mary was not as shocked as the robbers revealed that Matt had derailed. She has been trying to sort out her clues. It is not an ordinary Monday that turns into a fright, but a questioning of the husband.
The son of the hostage family, actor Noah Jupe, last year collaborated with Nicole Kidman and Hugh Grant in "Doing Nothing", and previously appeared in Matt Damon and Christian Bale's "Fast Driving" (Ford & Ferrari). ). In this film, Mary tells her son to do the right thing, which is not a reflection of her husband's behavior.
The two mistresses in the film also have scenes. Among them, Mrs. Capelli, Vanessa, has a lot of surprises. Four people died in the whole film, and she killed half of them. There are not many women's plays, but the actors are outstanding. In the social power hierarchy at the time, women had no place.
In addition to robber scenes and emotional scenes, there is also a police detective scene. "Mad Men" Jon Hamm played police detective Joe Finny.
The ending is wonderful. The rich still cover the sky with one hand. Only the leeks that are not greedy can retreat. The others either lose their lives and have nothing, or they continue to struggle in the hierarchy.
The following excerpt is taken from the Guardian’s comment.
The difference between the heist movies made by Steven Soderbergh and the heist movies made by everyone else is that he takes as much interest in where the money comes from and goes as in the details of its transferral – the why along with the how. His thieves tend to be independent operators liberating massive sums from institutions on the winning side of capitalism, self-styled Robin Hoods for an age in which the phrase “wealth distribution” appears in public discourse with ever-greater frequency. They steal from the rich and give to the poor, as in the Ocean's 13 con to force multimillion payouts from an elite casino to its patrons. Or sometimes, it just so happens that they are the poor, as in the boost from Nascar's coffers by blue-collar West Virginians in Logan Lucky. All the while,the director has kept his eye on the big picture of who's hoarding and who really deserves the cash in question.
——The Guardian
[Steven Soderbergh’s robber movie is different from other directors’ robber movies in that Soderberg pays more attention to where the money comes from, and the various details in the transfer process-why And how to do it. The thieves in Soderbergh's movies usually act independently and obtain a large amount of money from the capital gaining party, such as Robin Hood, who has a set of self-style, appearing in an era when words such as "distribution of wealth" frequently appear. They rob the rich and help the poor, like the crooks in "Thirteen Arhats" let the top casinos give ordinary people money. Sometimes these thieves are poor, like in "League of Thieves", a few poor West Virginia men robbed the National Motorsports Association. In short, Soderbergh focused his attention on who is hoarding and who should get the money. 】
The following is an excerpt from Roger Ebert’s film review.
Steven Soderbergh returns to HBO Max this week with a phenomenal genre exercise, an old-fashioned film with one of the sharpest ensembles he's ever assembled (which is really saying something). Once again, he is interrogating power structures—a theme of films like "High Flying Bird," "Traffic," "The Girlfriend Experience," and so many other greats—embedding sharp social commentary in a story of men with ulterior motives, in which only the truly corrupt come out on top. Soderbergh has always been an incredibly economic filmmaker—there's no fat on his best movies and no unnecessary cuts or diversions—and this is one of his tightest films, a steel drum of betrayals and twists. For some reason, it feels like the director of modern classics like “ Out of Sight" and "The Limey" is still underrated in some circles—take the fact that this film,which would look amazing on the big screen, will primarily be watched on tablets—but history will recognize him as one of the best of his generation, and “No Sudden Move” is just further proof.
[Steven Soderbergh brought his new work to HBO Max this time. This is a phenomenal literary and artistic attempt. It is a sharp integration of the director himself with what he once combined. He once again tortured the power structure—like the themes of his previous works "Goofy Bird" and "Drug Network", as well as other excellent works such as "Calling Girlfriends"—hidden pungent social commentary in the story, and The characters in the story often have ulterior motives, and those who are truly corrupt can climb to the top. Soderbergh has always been an incredible frugal filmmaker. There is no extra content in his best work (the original text is fat), no unnecessary editing, no change in direction-and the film (refers to No Sudden Move) is one of Soderbergh's most compact works, a steel drum about betrayal and reversal. For some reasons, this director with modern classics such as "Strategic Master" and "British Sailor" has been underestimated in some circles. For example, this "Don't Move" is watched on the big screen. Great, but because HBO Max is online, more people will only watch it on computers or tablets. But history will remember Soderbergh, the most outstanding of their generation, "Don't Tackle" is another piece of evidence. 】
“I did not create the river, I am merely paddling the raft,” says a mysterious character late in “No Sudden Move.” We are all in the river. Some will paddle, some will swim, some will drown, and some will push people underwater. To make this point, Soderbergh and writer Ed Solomon set their story against the auto race in Detroit in 1954, bouncing a cast of criminals and auto executives off each other.
["I didn't create a river, I just paddled a raft in it," Mike Lowen said in the second half of the film. In fact, we are all in the river. Some people are rowing rafts, some are struggling to swim, some are drowning slowly, and some are pushing others underwater. Soderbergh and Ed-Solomon set up such a story to show these beings in the river. The story is set in the auto market competition in Detroit in 1954, and it takes place between criminals and executives in the auto industry. 】
——He’s metaphor is particularly suitable for describing this movie.
By the way, the original music is also great and the atmosphere is in place. The musician is David Holmes , who previously composed music for Soderbergh’s "Strategic Master" and the Lohan trilogy. He is also a member of the Unloved band. Many works composed for the band have been used in the British drama "Kill Eve". middle.
1 No Sudden Move (Main Title Theme)
2 Watkins Code Book Goes Missing
3 You'll Figure It Out
4 Wertz Goes to the Office
5 I'll Call with Instructions
6 Charley's Dead
7 This Thing's Bigger Than Frank
8 Hi, Clarisse
9 Depends What You Think It Is
10 Joe Finney Investigates
11 Matt Wertz, Accounting
12 This Is a Punch
13 Don't Worry, I'm Not Gonna Bite
14 Capelli Wants You Dead, Watkins Wants You Alive
15 I Offer You an Olive Branch
16 Vanessa Kills Frank
17 They Got Everything They Need
18 Humpty Dumpty Motel
19 You Still Don't Remember Me, Do You?
20 I Believe You Have Something of Mine
21 Sorry, Ronald
22 Let Me Play Out Two Scenarios
23 Change of Plans
24 Safe Travels, Mrs. Capelli
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