No Sudden Move review: Steven Soderbergh returns to old habits with an A-list packed heist film

Get our free weekly email for all the latest cinematic news from our film critic Clarisse Loughrey Get our The Life Cinematic email for free Get our The Life Cinematic email for free SIGN UP I would like to be emailed about offers, events and updates from The Independent. For No Sudden Move, director Steven Soderbergh has gone back to old habits and comforts – meaning the heist film, à la Ocean's Eleven and Logan Lucky, and a rogue’s gallery of famous faces. No Sudden Move may be a fairly minor entry in his filmography, but it’s well-crafted and thrilling in a way that feels oddly reassuring. What Soderbergh’s always been particularly good at, however, and what comes alive in No Sudden Move, is the kind of workaday professionalism of the heist. Back at home, Mary tries to shoo away a nosy neighbour, before looking out of the window, spotting said neighbour still lingering on the porch, and patly informing the man holding a gun to her head that, “I don’t think that’s the end of that.” No Sudden Move is best when it works in this lighter register, since Solomon’s attempts to weave in later references to corporate corruption and the racism driving urban planning don’t quite land with the same force.