Within the barrage of backstabbing and double-backstabbing in Steven Soderbergh’s “No Sudden Move” lies some kind of coherent movie. This is certainly one of Soderbergh's more conventional efforts of the last 15-20 years, an homage of ‘40s noir, but the director behind such great films as “Traffic,” “The Limey,” and “Out of Sight” would rather overcomplicate things than plainly tell his story. The result is a convoluted film that is easier to admire than to like. Take for example, Soderbergh’s decision to shoot “No Sudden Move” in ultra wide-lens, to the point where many are mistakingly claiming it was done via GoPro’s fisheye lens. It’s incredibly distracting. It doesn’t help that writer Ed Solomon’s screenplay is scattershot, struggling to find an identity — is it gangster cinema, a movie about racial issues, or a heist caper?
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