Out of sight [1998]

La scène ou elle jette les boulets au bar. Mythique! Jen après une bonne minute d'écoute attentionnée:"Euh... Pardon! Machin(je me souvient plus de son prénom) mais on s'en fout!" Après, le seeeeuuum dans leur regard quand un briquet vient la faire réagir émotionnellement...

^je crois que je vais profiter de ce long WE pour revoir ce film !!!

Avec Soderbegh proche de la retraite Slate magazine a fait un classement de ses film, qui arrive premier et est appelé Masterpiece ?

http://www.slate.com/id/2303677/pagenum/2

In the conclusion to his book Getting Away With It, Steven Soderbergh sorts the filmography of his subject and hero, A Hard Day's Night director Richard Lester, into clever categories: three masterpieces, four classics, six worthwhile divertissements,
and three really fascinating films that get better with age. "I hope to
do as well with my career," Soderbergh wrote, way back in 1998.
Thirteen years later, with (maybe)
only four films left in that career, Soderbergh matches those numbers
almost precisely—except that his relentless schedule and willingness to
indulge his directorial whims have also resulted in a handful of
interesting failures, and one unclassifiable movie that might best be
described as all of the above.

Three Masterpieces
The two finest movies of Steven Soderbergh's career—Out of Sightand The Limey—were
shot back-to-back in 1997 and 1998, and together serve as a portrait in
miniature of his whole career. Smart and stylish, one for a studio and
one for an indie, both taking familiar movie tropes (one last heist,
revenge flick) and making them snappier, funnier, weirder, more artful
than even their screenwriters might have expected. (Certainly that's
true of Lem Dobbs, disgruntled screenwriter of The Limey, who recorded a wonderfully argumentative commentary track with Soderbergh on that film's DVD.)
Like
nearly all of Soderbergh's films, they're expertly cast—not only
because they're full of great actors, but because many of the actors in
them give performances they've never matched since. George Clooney's
never been such a perfect mix of cool and hot as he is in Out of Sight. Luis Guzman's rarely shown the delicacy and care he does in The Limey. If not for her tough, sexy performance as Karen Sisco, Jennifer Lopez's entire movie career would be a wash.
Each
film features an indelible sequence that's among Soderbergh's best
ever; the differences between them point out how well Soderbergh can
work in entirely different modes. Out of Sight's love scene is all rhythm and motion, a skein of soundless romance elegantly woven together with Jack and Karen's charged conversation at the hotel bar a few minutes before. The Limey's warehouse massacre is a single unedited shot:
Terence Stamp, beaten bloody, rises from the pavement and shambles
through the loading dock like the walking dead; we hear off-screen
screams and gunshots; one survivor runs away, pursued by a
blood-spattered Stamp, who shouts a message for his ultimate
quarry—Henry Fonda's slick music exec—"TELL HIM I'M FUCKING
COMIIIIINGGGGGG."



What makes both films masterpieces, though, is their unabashed
emotionalism—the hearts that beat underneath their polished surfaces. In
The Limey, it's the grief Stamp's character Wilson feels for the daughter he lost long before she died halfway around the world. In Out of Sight,
it's the human connection—a little lust and a little love and a lot of
mutual respect—that sparks between Jack Foley and Karen Sisco when he
snaps his fingers against her thigh in the trunk of her car. What are
they talking about? Movies, of course.
Soderbergh's third
masterpiece is a minor one to most filmgoers but a major achievement to
the tiny audience to whom it mattered: And Everything Is Going Fine,
his 2010 elegy for the monologuist Spalding Gray. The director shot no
footage for the film; instead, along with the editor Susan Littenberg,
he built And Everything out of 120 hours of footage from Gray's
life and performances. It's a remarkably ego-free and empathetic work
of documentary, and it makes for a near-perfect portrait of an artist.


The Final Ranking
Out of Sight: masterpiece
The Limey: masterpiece
And Everything Is Going Fine: masterpiece
King of the Hill: classic
Kafka: RFF
Che: classic
The Informant!: RFF
Erin Brockovich: classic
Sex, Lies, and Videotape: classic
Contagion: WD
Ocean's 12: WD
Solaris: RFF
Bubble: RFF
Ocean's 11: WD
The Underneath: WD
Gray's Anatomy: IF
Traffic: WD
The Girlfriend Experience: IF
Ocean's 13: WD
The Good German: IF
Full Frontal: IF
Schizopolis: all of the above

C'est vrai que sans OOS dans sa filmo elle ne serait même pas considéré comme une vrai actrice, c'est vraiment le film qui lui donne encore de la crédibilité et pourtant il est vieux de 13 ans.

Pour Parker

^je ne me lasse pas de ce film, je ne l'avais pas revu depuis un pti moment !! j'ai un peu les mêmes attentes pour "Parker" j'espère que je ne serais pas déçu !

dans son personnage, j'aime tout, le look, la coupe, elle n'en fait pas trop ! ça me manque vrt cette jen j'espère que pour fin 2012 et après son best of elle se consacrera au cinéma ! c'est le bon moment je pense !

Je l'ai revus aussi la semaine dernière, après ça je comprend pas qu'elle n'ai pas reçut d'autre offre de grand réalisateur, ou est ce que sa musique a vraiment joué un mauvais rôle pour sa carrière au cinéma ?

les pro de l'industrie d'hollywood adorent vraiment ce film, ils en parlent encore comme un référence 13ans après.

Karl Killen on Out of Sight




Karl Killen, writer of The Beaver, starring Mel Gibson, explains
why Steven Soderbergh’s under-appreciated 1998 crime caper Out of
Sight is inspirational.






Out of Sight feels under-appreciated for how inventive it was at the
time. It’s a crime caper, but it’s the characters and the way they think and
relate to each other that sticks with you. That’s what elevates it.

This was the moment when George Clooney became the George Clooney that you see
in the movies today. This is where he began that throwback Cary Grant kind
of swagger, where he oozes charisma. There’s a line in the film where
Jennifer Lopez says, “You really wear that suit”, and that’s what Clooney
can do: he’s a man who almost doesn’t even have to say anything.


Clooney and Soderbergh seem as if they have one of those partnerships where
they take each other to another level. They both excel, and seems as if Out
of Sight was the beginning of a career renaissance for Soderbergh – and
it was the same thing for Clooney. I don’t think the number of times they
have collaborated since is an accident.


There was one particular scene that was mind-blowing. It’s the love scene
between Clooney and Lopez, which was edited in such a way that it created a
whole different way of telling the story.

You had these two different scenes that were incredibly beautiful, and the
editor realised that it was intriguing to get a glimpse of what happened
next, even as you were witnessing what was happening in the present.


It was actually sexier to jump back and forth in time than to do the scene in
a linear way. It put the act of physically making love on a par with verbal
sparring, and I think that’s why that scene has such a smouldering quality.


That scene deeply influenced me. I would have been blown away by all the
individual contributions to it: the director, the cinematographers, the
actors, the score, but it’s not until you put it all together that it really
becomes something. That is quintessentially what moviemaking is about – the
sum of all those parts are infinitely greater than any one of the individual
pieces.


The Beaver is released on DVD, October 10

brubaker brubaker
Everytime I watch Out of Sight, I imagine a world where Jennifer Lopez didn't didn't become JLo, and kept being in good movies. Sigh.
15 hours ago Favorite Retweet Reply

je me demandais pourquoi ça a été retwitté autant de fois, le mec est un scénariste de comics très connu aux états-unis -(Batman, Dardevil, Catwoman etc..)

^je me le demande aussi très souvent !!!

elle a fait plein de mauvais choix apres la sortie du film, elle viré son manager et a engagé Benny pour s'occupé de sa musique mais aussi de ses film, et elle pris une pause ciné au mauvais moment en 98 elle a rien tourné alors que c l'année ou elle du recevoir les meilleur propositions

ouaih son manager lui avait dit que si elle commençait une carrière dans la musique maintenant ça détruirait sa carrière au cinéma du coup elle la viré mais il avait avait raison, mais bon elle a eu une grosse carrière dans la musique même si jamais respecté elle a vendu beaucoup d'album entre 1999 et 2003.

Mon premier photoset : http://lovelylopeznet.tumblr.com/post/12834496130/out-of-sight-the-ultimate-cinematic

toujours une excuse pour poster dans ce sujet..

The Essentials: The Five Best George Clooney Performances

"Out Of Sight" (1998)
A hugely important movie in the careers of both Clooney and his frequent partner/hetero-lifemate Steven Soderbergh, "Out of Sight" established the duo as a creative force to be reckoned with (even if, initially, it didn't connect much with audiences). Prior to the film’s release, Clooney had had a string of critical disappointments, including, a year before, headlining the universally derided “Batman and Robin.” It seemed to cause the actor -- then regarded principally as a TV star (he was still on “E.R,” which he wouldn’t leave until 1999) -- to take stock. As bank robber Jack Foley -- a man who, after escaping prison, falls in love with Karen Sisco, the Federal Marshall on his trail (Jennifer Lopez) -- he brings an old-school movie star quality without simply being Doug Ross by another name (the director helped him to break some of his head-nodding mannerisms). Foley’s got game, for sure, but he’s also a man damaged by a lifetime of being in and out of the joint, who’s choked by the idea of the office job suggested to him by prison-mate Richard Ripley (Albert Brooks, showing his range years before “Drive”), and yet knows that his current lifestyle will only end up killing him. His salvation, and his ruin, comes in his affair with Sisco, in what must surely be one of the sexiest screen romances. Clooney shares a palpable chemistry with Lopez, and one suspects the reason she was never as good after that is that she hasn't since had a dance partner of Clooney’s caliber.

http://blogs.indiewire.com/theplaylist/the-essentials-the-five-best-george-clooney-performances

c'est pas faux, elle a pas eu mieux ou aussi bien que Clooney comme costar depuis.

nadioz a écrit:

c'est pas faux, elle a pas eu mieux ou aussi bien que Clooney comme costar depuis.

oui ça doit bien être aussi une des raisons, ses meilleur performance après ça Angel eyes, An unfinished life (je compte pas El catante car c'était avec son mari) son des films sur lequels elle a fasse a elle de très bon acteurs et ça joue énormément, et aussi les réalisateurs, elle n'a pas travaillé avec de très grand réalsateur depuis la fin des années 90, quand tu vois que Justin réusis a être accépter par des réalisateur comme David Fincher ou les frère Coens tu dit que le problème ne viens pas seulement de sa carrière dans la musique, mais la différence peut-être est que Justin est très réspécté dans le monde de la musique donc c'est peut-être différent.

Je pense surout que Jennifer n'a pas pris assez de risque dans sa crrière au cinéma, tout ses rôles ne sont qu'une répétition des anciens (plus ou moins) et elle ne se transforme pas assez dans ses rôles y a toujours une touche de Jlo et le publique a un peu de mal a voir autre chose ! Et elle ne donne pas l'impression de prendre sa carrière d'actrice au sérieux.

Maintenant que sa vie amoureuse est de nouveau dans le médias et avec tout ses contrats publicitaire j'ai bien peur que ça ne s'arrange pas, a moins que Parker soit vraiment un grand film et qu'elle y donne une grande performance mais y a peu de chance qu'il change sa carrière, même si c'était le cas elle n'en profiterais probablement pas, je ne fait pas confiance en ses choix et ceux de Benny.

oui Réalisateur, le jour ou elle a engagé Benny a marqué la fin de sa belle carrière cinématographique, ils ont choisis des films pour les mauvaise raison et elle a fini par couler ! même si J'ai bien conscience qu'être latina Latina a Hollywood c'est pas simple mais elle avait si bien commencé.

nadioz a écrit:oui Réalisateur, le jour ou elle a engagé Benny a marqué la fin de sa belle carrière cinématographique, ils ont choisis des films pour les mauvaise raison et elle a fini par couler ! même si J'ai bien conscience qu'être latina Latina a Hollywood c'est pas simple mais elle avait si bien commencé.

oui elle n'aurait pas dû renvoyer son premier manager, elle faisait que des bon film avec lui et elle aurait dû garder Benny que pour la partie Musique.

J'avais jamais vu.

je sais pas ou est la video mais c'était a Venise en 98 quand le film était présenté au Festival.



j'aimais le naturel de son look avant.

^je suis tellement nostalgique de cette période !!!

Magnifique , le naturel lui va tellement bien ..!!

wadoud a écrit:Magnifique , le naturel lui va tellement bien ..!!

oui c clair !!
mintenant c'est une barbie latine

elle va dans le sens inverse en général tu commence a avoir un look plus naturel en vieillissant.

Elle était magnifique à cette époque là!!!
Et cette couleur de cheveux lui va mieux que le bond!

je me demande ce que clooney pense d'elle maintenant

MIA since Out of Sight: Jennifer Lopez, Actress
by Tony Dayoub

http://www.cinemaviewfinder.com/2011/03/mia-since-out-of-sight-jennifer-lopez.html



Where is the actress who worked with Francis Ford Coppola, Bob Rafelson, and Oliver Stone, and seemed on the verge of something greater as US Marshal Karen Sisco in Steven Soderbergh's Elmore Leonard adaptation? March's Blu-ray release of Out of Sight (1998) is occasion for me to lament the disappearance of bright, rising star Jennifer Lopez (replaced full-time by pop star, J.Lo) from any challenging dramas.

Chief among the reasons I’m so happy that Out of Sight (Universal Studios Home Entertainment) is finally out on Blu-ray: Jennifer Lopez. Not the J.Lo now struggling to keep her recording career going, or Jennifer the judge on American Idol, or the part-owner of the Miami Dolphins, or the entrepreneur who has launched various fashion lines and a perfume line. Diversification is always a good idea for an actor. Here today, gone tomorrow and all that. But in the case of Lopez, it seems that dilution of her brand is a better description for her involvement in a multitude of enterprises. It’s sad because I came to like her through her film performances. Back in the ’90s, it seemed like she was on a fast track to the top.

Consider that after breaking through with her small part in 1995’s Money Train, Lopez worked with such auteurs as Francis Ford Coppola (Jack), Gregory Nava (Selena), Bob Rafelson (Blood and Wine) and Oliver Stone (U-Turn), admittedly in minor films. Still, for someone who first gained public attention as a background dancer on a sketch comedy show, these were astounding opportunities for her to create an impression. And eventually she made her mark, with a confident performance in 1998’s Out of Sight, finally positioning her to take on challenging roles that would capitalize on more than her sultry good looks. In fact, Out of Sight, an excellent film with cult appeal but a relative bauble in cinematic terms, seems to serve as a key transitional film not only in the Lopez’s career, but also those of leading man George Clooney and director Steven Soderbergh.

Out of Sight is the first of what has become a fruitful series of collaborations between Soderbergh and Clooney. In the mid-1990s, longtime TV actor Clooney had finally hit the television ceiling as Doug Ross, the breakout character on ER. A number of vehicles designed to make him a movie star had failed at the box office. Out of Sight was the first movie to capitalize on both his sexy persona and his self-deprecating charm — his Cary Grant-ness — which allowed a level of buffoonery that undercut his blinding handsomeness in a way that his polished leading roles in Batman and Robin, From Dusk Till Dawn, and The Peacemaker could never do. Foley’s funny walk, his bungled getaway from a robbery in a Honda Civic he can’t start, a bumbling pratfall late in the film, all mollify the gleaming allure of People’s 1997 Sexiest Man Alive. Soderbergh’s influence helped hone Clooney’s instincts as both an actor and an emerging Hollywood power-player of some note. Like Soderbergh, and indeed many of Hollywood’s cannier talents, Clooney now alternates his commercial releases with ones meant to provide artistic satisfaction, producing and directing features of his own along the way.

Which brings me back to Jennifer Lopez. Where is the payoff to the promising trajectory her cinematic career was taking? Her choices seem to have weakened

her brand instead of diversifying her prospects (as Clooney effectively did with his). Since Out of Sight, a few dramatic misfires and the success of the romantic comedy Maid in Manhattan have scared her away from shooting for riskier roles. Instead, she has often chosen to appear in substandard films in order to work with her real-life romances, films like Gigli (Ben Affleck), Jersey Girl (Affleck again), and El Cantante (Marc Anthony). Or she has settled for less challenging star vehicles like Monster-in-Law or The Back-up Plan, films so tailored to her persona that they promote an unsavory image of Lopez as a self-centered diva ignorant of the qualities that made her successful in the first place.


It is Lopez’s earthy appeal — the mythic streetwise persona perpetuated by songs like “Jenny from the Block” and her 1999 album, On the 6 — that seems to have been the casualty of her cinematic rise to stardom. It’s ironic, considering that her most successful film role, as Out of Sight’s Sisco, embraced that persona. In scenes with Sisco’s dad (Dennis Farina), padding around his home in shorts and a Dolphins jersey (prophetic, huh?), she allows her cool façade to fall and the vulnerability of daddy’s little girl to creep in. But even at her most beguiling, one suspects Sisco is a lethal opponent. I want to see that Jennifer Lopez again.


Whenever anyone asks me if I really think Lopez is a good actress, I remind them of the scene in which Sisco, sharply dressed in a black leather trench coat and knee-high boots, confronts Snoopy’s henchman, the lean, menacing thug, Kenneth (Isaiah Washington) at his home. He tries to intimidate her, whispering, “You like the rough stuff? Yeah, I bet you do. You like to get down and tussle a little bit? Like me and [the dog], before she got run over. We used to get down on the floor and tussle all the time. I’d say to her, ‘You a good bitch, Tuffy. Here’s a treat for ya.’ And I’d give Tuffy what all good bitches love best. And you know what that is? Know what that is? A bone. I’ll give you a good bone too, girl.”


“You’re not my type.”

Sisco first instinct is to smile flirtatiously, but she quickly gets serious as Kenneth’s demeanor changes from merely threatening to chillingly dangerous. When she turns to walk away, he reaches out to her, “No, we’re gonna tussle first.”

Sisco pulls out an extendo stick and raps Kenneth’s wrist and face with it, knocking him on his ass.

“What the fuck was that?” he yells.

She coolly walks away from him toward the camera, collapsing her baton, and responds, “You wanted to tussle? We tussled.”

^c'est vrai que si elle n'était pas devenue JLO elle aurait une autre carrière !!!! elle fait chier comme même !!!!