Steven Soderbergh’s No Sudden Move contradicts its own title by showing up out of nowhere all of a sudden, with an ensemble cast for the ages, a snazzy 50’s production design vibe and one of those deliriously convoluted marble maze narratives where things make just as much sense as they don’t. The film is honestly a lot more low key, subdued and laconic than you might expect from all of these moving parts, let’s more Out Of Sight than Ocean’s 11, more burnished, modest caper games than ritzy, tongue in cheek sizzle. Don Cheadle plays an aimless Detroit ex-con who is hired by a shady mob figure (Brendan Fraser) to babysit the family of a twitchy executive (David Harbour) while he retrieves something of great McGuffin-esque importance from a safe at his work. Alongside him are two less level headed operatives played by a greasy Benicio Del Toro and Rory Culkin, who collectively escalate the proceedings into a dangerous powder keg of betrayals, backstabbing and hopeless incompetence. Others orbit their situation including Ray Liotta as an appropriately volatile mobster, Julia Fox as his philandering wife, Jon Hamm as a keen federal agent, Amy Seimetz as Harbour’s stressed out wife, Bill Duke as an all powerful underworld kingpin and a sly cameo from an A lister (that I won’t spoil) as a cheerfully corrupt automobile industry magnate. The cast are all exceptional with everyone really keeping it on a low, laconic burn save for perhaps Liotta who has to get fired up at least once in every movie per his contract and Harbour who is cast pricelessly against type as a spineless fuck up. The narrative is a shifting puzzle box that requires adderall level attentiveness to fully absorb which I wasn’t giving it and as such was a bit fuzzy on some of the particulars but it was nonetheless lots of fun to watch these quaint, colourful characters mosey around old Detroit and have some good old fashioned noir fun.