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‘Out of Sight,’ 25 Years Later – The Gentleman Report – TheFantasyTimes

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By Jitin Gambhir

‘Out of Sight,’ 25 Years Later – The Gentleman Report


George Clooney had been selected to play the role of Jack Foley, a charming bank robber, while Jennifer Lopez, fresh off the success of “Selena” and “Anaconda,” landed the role of Karen Sisco, the federal marshal who captures Foley during a jailbreak and finds herself reluctantly attracted to him. Lopez won the part over other actresses such as Sandra Bullock, Julia Roberts, and Mira Sorvino. Director Steven Soderbergh later directed Julia Roberts to an Oscar in “Erin Brockovich” and cast her alongside Clooney in “Ocean’s Eleven.” The cast was rounded out with a talented group of character actors including Albert Brooks, Don Cheadle, Viola Davis, Dennis Farina, Luis Guzman, Catherine Keener, Ving Rhames, and notable cameos from Samuel L. Jackson and Michael Keaton, who starred together in “Jackie Brown.”

Critics were overwhelmingly positive about “Out of Sight,” with “Variety” describing it as a “reflexively witty crime caper,” and Janet Maslin of The New York Times praising Soderbergh’s direction and the chemistry between Clooney and Lopez. Anthony Lane of The New Yorker stated that Soderbergh did justice to Elmore Leonard’s story, and the magazine even dedicated a fun sidebar to the Zippo lighter that played a pivotal role in the film.

Despite critical acclaim, the film did not perform well at the box office, earning only $37 million domestically against its $48 million budget. Nevertheless, “Out of Sight” proved that Clooney and Lopez could carry a film with grace and charm, and it served as a comeback for Soderbergh, who went on to receive double nominations for Best Director at the Academy Awards in 2001 for “Erin Brockovich” and “Traffic,” winning for the latter. The innovative cinematography in “Traffic,” which used distinct color schemes to differentiate storylines, originated as an experiment in “Out of Sight.” The film’s use of freeze frames, fragmented dialogue, and nonlinear narrative foreshadowed the experimental nature of Soderbergh’s future works.

In his review, Roger Ebert praised “Out of Sight” for going beyond mere imitation of the influential “Pulp Fiction” and creating its own unique texture. He admired the film’s intelligence, wit, and playfulness, which came to define Soderbergh’s style in the new millennium. In 1998, Soderbergh stated, “You can have a film like ‘Out of Sight’ that appeals to a wide audience and also has interesting and unconventional cinematic elements.” This approach was seen as novel at the time, but now, in 2023, it feels like a miraculous achievement.

George Clooney was handpicked to play the role of Jack Foley, the charming bank robber, while Jennifer Lopez, the successful actress from “Selena” and “Anaconda,” was chosen to portray Karen Sisco, the federal marshal who captures Foley during a jailbreak and eventually finds herself attracted to him. Lopez beat out other notable actresses such as Sandra Bullock, Julia Roberts, and Mira Sorvino for the role. Director Steven Soderbergh went on to direct Julia Roberts to an Oscar in the film “Erin Brockovich” and also cast her alongside Clooney in “Ocean’s Eleven.” The ensemble was rounded out by a group of talented character actors, including Albert Brooks, Don Cheadle, Viola Davis, Dennis Farina, Luis Guzman, Catherine Keener, Ving Rhames, and notable cameos from Samuel L. Jackson and Michael Keaton, who starred together in “Jackie Brown.”

“Out of Sight” received overwhelming praise from critics upon its release. “Variety” called it a “reflexively witty crime caper,” and Janet Maslin of The New York Times praised Soderbergh’s direction and the chemistry between Clooney and Lopez. Anthony Lane of The New Yorker stated that Soderbergh did justice to Elmore Leonard’s story, and the magazine even dedicated a fun sidebar to the Zippo lighter that played a crucial role in the film.

Despite critical acclaim, the film did not perform well at the box office and only earned $37 million domestically against its $48 million budget. However, “Out of Sight” showed that Clooney and Lopez could carry a movie with poise and charm, and it served as a comeback for Soderbergh, who went on to receive double nominations for Best Director at the Academy Awards in 2001 for “Erin Brockovich” and “Traffic,” winning for the latter. The innovative cinematography in “Traffic,” which used distinct color schemes to differentiate storylines, originated as an experiment in “Out of Sight.” The film’s use of freeze frames, fragmented dialogue, and nonlinear narrative foreshadowed the experimental nature of Soderbergh’s future works.

Roger Ebert praised “Out of Sight” for its distinctive texture and going beyond mere imitation of the influential “Pulp Fiction.” He admired the film’s intelligence, wit, and playfulness, which came to define Soderbergh’s style in the new millennium. In 1998, Soderbergh stated, “You can have a film like ‘Out of Sight’ that appeals to a wide audience and also has interesting and unconventional cinematic elements.” This approach was seen as groundbreaking at the time, but now, in 2023, it feels like a miraculous achievement.

George Clooney had already been cast as the charming bank robber Jack Foley, while Jennifer Lopez, fresh off the success of “Selena” and “Anaconda,” reportedly won the role of Karen Sisco, the federal marshal who captures Foley during a jailbreak and finds herself reluctantly attracted to him, beating out other actresses such as Sandra Bullock, Julia Roberts, and Mira Sorvino. Director Steven Soderbergh later went on to direct Julia Roberts to an Oscar in “Erin Brockovich” and cast her alongside Clooney in “Ocean’s Eleven.” The cast was rounded out with a talented group of character actors including Albert Brooks, Don Cheadle, Viola Davis, Dennis Farina, Luis Guzman, Catherine Keener, Ving Rhames, and notable cameos from Samuel L. Jackson and Michael Keaton, who starred together in “Jackie Brown”.

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The reviews for “Out of Sight” were overwhelmingly positive. “Variety” described it as a “reflexively witty crime caper,” while Janet Maslin of The New York Times praised Soderbergh’s direction and the chemistry between Clooney and Lopez. Anthony Lane of The New Yorker stated that Soderbergh did justice to Elmore Leonard’s story, and the magazine even dedicated a fun sidebar to the Zippo lighter that played a pivotal role in the film.

However, despite critical acclaim, the film did not perform well at the box office, earning only $37 million domestically against its $48 million budget. Nevertheless, “Out of Sight” proved that Clooney and Lopez could carry a film with grace and charm, and it served as a comeback for Soderbergh, who went on to receive double nominations for Best Director at the Academy Awards in 2001 for “Erin Brockovich” and “Traffic,” winning for the latter. The innovative cinematography in “Traffic,” which used distinct color schemes to differentiate storylines, originated as an experiment in “Out of Sight.” The film’s use of freeze frames, fragmented dialogue, and nonlinear narrative foreshadowed the experimental nature of Soderbergh’s future works.

In his review, Roger Ebert praised “Out of Sight” for going beyond mere imitation of the influential “Pulp Fiction” and creating its own unique texture. He admired the film’s intelligence, wit, and playfulness, which came to define Soderbergh’s style in the new millennium. Back in 1998, Soderbergh stated, “You can have a film like ‘Out of Sight’ that appeals to a wide audience and also has interesting and unconventional cinematic elements.” This approach was seen as novel at the time, but now, in 2023, it feels like a miraculous achievement.

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