Out of Sight: Critic Reviews

Like Get Shorty, Out of Sight has been adapted with deftness and fidelity by Scott Frank, who knows exactly how to translate Leonard's narrative voice to the screen.

Steven Soderbergh's best film since Sex, Lies and Videotape a decade ago.

Some reviewers have applauded Out of Sight for its nuances of character, but I and others don't see any characters at all.

From the first shot to the last, Mr. Clooney is in complete command of the screen in the assured manner of the biggest stars in the past, and he doesn't need a ton of special effects and digital enhancement to generate excitement.

Steven Soderbergh's most ambitious and most accomplished work to date.

Out of Sight isn't just a rousing piece of entertainment, it's also a cinematic salvage operation.

Soderbergh takes real delight in giving his stars the star treatment.

It's refreshing to find a picture like Out of Sight, which is not only smart, but a great deal of fun, as well.

As always with the best of Leonard, it's the journey, not the destination, that counts, and director Soderbergh has let it unfold with dry wit and great skill.

Clooney and Lopez sizzle in gun-happy heist flick.

Faintly melancholy and alluringly fatalistic, this mercurial romance passing as a crime thriller is slyly entertaining and darkly sexy.

The audience was wrong -- Out Of Sight is wonderful.

Soderbergh finds the perfect equilibrium between mainstream entertainment and arty panache, lacing this heist movie/romantic comedy with character-motivated time shifting, prominent freeze-frames, a funky soundtrack and an all-around hip vibe.

An outstanding crime film from director Steven Soderbergh and screenwriter Scott Frank, who adapted Elmore Leonard's novel.

A splendid reminder of just how assured, intelligent and involving Soderbergh's movies can be.

Un divertissement aussi cool et intelligent qu'un Ocean's Eleven qui s'affiche sous un enrobage esthtique aussi solidement labor que celui de l'excellent The Limey.

Intelligent and intriguing.

It's best to think of this as a Pulp Fiction-lite clone, but a darn good clone.

Soderbergh and his longtime cinematographer Elliot Davis have given us an action film that looks as sleek and moody as Krzysztof Kieslowski's Red.