Just, just tucked behind The Limey as my favourite Soderbergh film. This is an endlessly watchable movie, a brilliant adaptation. There’s so much going on, and so much love within it.
The chemistry between Clooney and Lopez is insane. So believable. The famous trunk scene is a brilliant example of creating chemistry and believability. The movie references are superb. Clooney misquoting Network is a joy.
He is brilliant at being smooth and charming but also littering his performance with moments of idiocy and clumsiness that give his characters great depth. He uses his physicality a lot too.
Dennis Farina (RIP) is brilliant as J Lo’s Dad. His interrogation of her married boyfriend Michael Keaton (in the role he also plays in Jackie Brown) is brilliant, helped by Keaton’s obliviousness. He will be missed.
The scene where he greets his daughter’s boss at the hospital is a gem of passive aggressive comic timing. It’s an example of luscious dialogue that runs through the film. Funny, smart, illuminating. A brilliant screenplay.
The cameo at the end (I won’t spoilt it if you haven’t seen it) is a wonderfully cheeky scene that ties up and leaves open what has gone before in such a satisfying and story logical way. Bravo.
The script, the photography, the editing, the performances, all so natural and effortless.
Never realised Viola Davis was in it either.
The David Holmes soundtrack is a thing of wonder.
An example of the greatness of the film is in the character of Glenn Michaels. He is a border between the charming anti-hero criminal and the dangerous, murderous villain. The scene where he is forced to be involved in a revenge murder organised by Maurice (Don Cheadle) is a jolting reminder that this is a film about criminals, violence and danger and it beautifully muddies the water for the rest of the film. We are with Foley all the way until this moment when the morality of what he does for a living, however charming, is laid bare by the acts of, whether he likes it or not, his peers.