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THE REWATCHABLES · February 2, 2021

Out Of Sight

A 1998 crime / drama directed by Steven Soderbergh, covered in the complete Rewatchables archive.

CrimeDrama1990sDirected by Steven Soderbergh
Overall episode#186Source sheet order
Movie year19981990s
Tomatometer94%Critics’ score
Metacritic84View score
Roger Ebert—No review recorded
DirectorSteven SoderberghCrime / Drama

FROM THE CONVERSATION

What they said about the movie

The episode argues that Out of Sight is a stylish, adult romantic crime movie that made George Clooney a true movie star, confirmed Jennifer Lopez as a major screen presence, and showed Steven Soderbergh could make a cool commercial movie without losing his voice. The hosts praise its chemistry, casting, Elmore Leonard adaptation, and distinct visual style.
Based only on this episode’s transcriptTimes approximateSpeakers were clearly identifiedExplore the connections

WHY IT WORKS

What made it rewatchable

  1. 01The chemistry between Clooney and Lopez is repeatedly singled out as exceptional and unusually believable. About 16 min
  2. 02Soderbergh’s visual style—freeze frames, color contrast, and Florida-vs-Detroit mood—is presented as a major draw. About 32 min
  3. 03The trunk scene is described as unique, funny, tense, and the movie’s signature sequence. About 1:44
  4. 04The supporting cast is stacked with memorable character actors, giving the movie constant rewatch value. About 40 min

WHAT DID NOT WORK

Their main criticisms

  1. minorThe chronology and fantasy/wake-up structure can be slightly confusing on first watch. About 1:44 · medium confidence
  2. minorThe report/fantasy logic around J-Lo’s hospital scene is questioned as a possible script cheat. About 1:44 · medium confidence
  3. moderateJack Foley’s decision to go back for the maid is not fully earned for one host. About 1:44
  4. minorAlbert Brooks’s bald cap/wig makeup is called out as dated-looking. About 1:44 · medium confidence

SCENES THEY KEPT COMING BACK TO

Standout moments

Favorite

Opening bank robbery

Clooney’s smiling, unarmed bank robbery introduction establishes his movie-star persona immediately.

About 16 min
Favorite

Trunk scene

Clooney and Lopez trapped in the trunk mix tension, banter, and the beginning of romantic chemistry.

About 1:44
positive

Michael Keaton cameo

Keaton’s brief appearance is treated as a playful crossover from Jackie Brown.

About 1:28
Favorite

Hotel bar / Detroit flirtation scene

The Detroit hotel-bar conversation and ensuing sex scene are praised for sexy restraint and chemistry.

About 1:28
Favorite

Goldfish shakedown in prison

Don Cheadle’s prison extortion scene is praised for comedy, cruelty, and tension.

About 1:44
positive

Final house confrontation

The double-staircase ending, White Boy Bob’s accidental death, and the showdown feel very 1990s and suspenseful.

About 1:44

WHERE THEY DISAGREED

The biggest debates

They partly agreed About 1:36

Trunk scene vs hotel bar scene as most rewatchable

Bill Simmons

Leans hotel bar as better scene, but trunk is the more important and iconic one.

Bill Lawrence

Trunk scene wins because it launches the chemistry amid chaos.

Ryen Russillo

Finds the hotel-bar geography and chemistry especially strong, but acknowledges trunk as the forcing mechanism.

No final agreement About 1:44

Whether Jack Foley is truly a good guy

Bill Simmons

Questions whether Foley earns his return for the maid.

Ryen Russillo

Notes the movie keeps him likable but not purely good.

Bill Lawrence

Says the plot needs him to do the thing he would not normally do.

They partly agreed About 1:44

Who won the movie

Bill Simmons

Says J-Lo wins the movie, but Soderbergh wins big-picture career-wise.

Bill Lawrence

Says Soderbergh won because the movie proved he could do commercial style and unlocked later work.

Ryen Russillo

Implicitly aligns with the career-shaping impact on Clooney and Soderbergh.

15 People discussedActors, directors, writers, and producers
very favorableGeorge ClooneyBill Simmons: Praised as a breakout movie star with great physical charm, smile, and bank-robber charisma. Opening minutes very favorableJennifer LopezBill Simmons: Described as exceptional, believable, and potentially capable of a bigger acting career than she ultimately had. About 16 min favorableSteven SoderberghBill Simmons: Praised for style, casting, and making a cool commercial movie that revived his career trajectory. About 32 min
very favorableElmore LeonardRyen Russillo: Held up as a favorite writer whose characters and dialogue are easy to love and hard to adapt. About 48 min
favorableDon CheadleRyen Russillo: Discussed as a dangerous, funny supporting presence who strengthens the prison scenes. About 1:44 favorableMichael KeatonBill Simmons: His brief crossover cameo is treated as a fun movie-universe callback. About 1:28 favorableDennis FarinaBill Simmons: Liked for his familiar cop/crime persona and his father role in the film. About 16 min favorableVing RhamesBill Simmons: Praised as an automatic 1990s presence with menace and loyalty. About 40 min favorableAlbert BrooksRyen Russillo: His nervous, comedic victim performance in the trunk/prison shake-down is singled out as excellent. About 1:44 favorableCatherine KeenerBill Simmons: Mentioned as a strong supporting player in a very good late-90s run. About 1:44
favorableIsaiah WashingtonBill Simmons: Noted as especially menacing in his threatening scenes. About 1:28
favorableLuis GuzmanRyen Russillo: Considered a standout side presence, especially in jail and the escape sequence. About 1:44
neutralSandra BullockBill Simmons: Discussed as the original choice for Karen Sisco before J-Lo was cast. About 1:44 neutralBarry SonnenfeldBill Simmons: Mentioned as the director who originally passed on the project before doing a different Leonard adaptation. About 1:44
favorableCarl HiaasenBill Lawrence: Referenced as a favorite author and later adaptation opportunity for Bill Lawrence. About 48 min
12 Conversation takesSpeakers shown only where the transcript identifies them
Bill SimmonsLoved it

Out of Sight as a romantic crime movie

Calls it a banger and argues it feels like an adult, cool-guy romantic comedy.

Opening minutes
Ryen RussilloLoved it

George Clooney

Says Clooney’s face and smile suggest an extra, unspoken layer that makes him magnetic.

About 16 min
Bill LawrenceLoved it

Soderbergh’s visual approach

Says the film’s warm Florida vs cold Detroit palette and freeze frames were the first time he really noticed auteur style.

About 32 min
Bill SimmonsLoved it

Jennifer Lopez

Argues that this role showed an acting ceiling that her later career did not fully reach.

About 24 min
Ryen RussilloLoved it

Hotel bar and sex scene

Praises the scene for being sexy without being explicit and for making the relationship believable.

About 1:36
Bill LawrenceLoved it

Trunk scene

Calls the trunk sequence the most important scene because it turns chaos into chemistry and stakes.

About 1:44
Bill SimmonsLoved it

Opening bank robbery

Treats Clooney’s unarmed bank robbery as a pure movie-star introduction.

About 16 min
Ryen RussilloLoved it

Elmore Leonard adaptations

Argues Leonard’s books are fun, efficient, and addictive because of their quirky characters.

About 1:44
Bill LawrenceLoved it

George Clooney as a person

Describes Clooney as an all-time good guy, loyal, un-Hollywood, and a solid basketball player.

About 56 min
Ryen RussilloLoved it

Steve Zahn’s performance

Says Zahn is essentially in his own movie and goes for it in every scene.

About 1:44
Bill SimmonsLoved it

Soderbergh’s career strategy

Credits Soderbergh with learning to make a movie people would see in order to earn future freedom.

About 32 min
Bill SimmonsLiked it

Trunk scene vs hotel bar scene

Says the hotel bar scene may be better, but the trunk scene is more important and more unique.

About 1:36
5 ThemesThe larger ideas in the discussion

TV stars crossing into movies

A long discussion frames Clooney’s leap from ER into films as a defining 1990s Hollywood transition.

About 8 min

Elmore Leonard adaptation craft

The hosts emphasize Leonard’s quirky characters, efficient writing, and the difficulty of adapting his overlapping ensemble stories.

About 48 min

Chemistry as story engine

The movie is held up as an example of a relationship that feels inevitable because the actors and the writing align so well.

About 1:36

Soderbergh’s commercial breakthrough

The film is treated as the moment Soderbergh proved he could make a stylish, accessible movie and get future projects he wanted.

About 32 min

Criminals as charismatic antiheroes

The hosts repeatedly note that the film makes bad guys charming without losing stakes or menace.

About 16 min
23 Facts and referencesProduction notes and other movies mentioned

Production note

The trunk scene was reportedly shot 45 times, and the final cut used none of those original takes after test-audience feedback.

About 1:44

Production note

Soderbergh deliberately toned down Clooney’s smile/head movement because it played too much like a crossover-guy move.

About 16 min

Production note

The movie received Oscar nominations for adapted screenplay and editing but did not win either.

About 40 min

Production note

The film was reportedly mis-marketed as a summer release and felt more like an autumn movie.

About 1:44

Production note

Bill Lawrence says he and George Clooney once joked that their careers were stalled while they were both on TV projects.

About 56 min

Production note

The movie includes a Karen Sisco spin-off series on ABC as an aftereffect, which the hosts treat as a lesser sequelization outcome.

About 1:44

Production note

Soderbergh’s original target for Karen Sisco was Sandra Bullock, but he felt her chemistry with Clooney fit the wrong movie.

About 1:44

Production note

A studio note/pattern discussed in the episode is that some actors in the film were likely director friends or non-actors filling out small parts.

About 1:44 · medium confidence

ER

Used to explain Clooney’s TV-to-movie crossover and the 1990s network-TV era.

Opening minutes

Friends

Bill Lawrence compares the era of TV stars trying to become movie stars to the Friends cast.

About 8 min

Get Shorty

Used as a comparison point for Elmore Leonard adaptations and tone.

About 32 min

Jackie Brown

Mentioned because Michael Keaton reprises his Jackie Brown character for a crossover cameo.

About 1:28

Three Days of the Condor

Referenced in dialogue and as a romance logic comparison.

About 1:44

Network

Clooney quotes it incorrectly in the hotel-bar scene, which the hosts enjoy.

About 1:28

Midnight Run

Used to illustrate how a threatening villain needs to stay dangerous in a funny crime movie.

About 1:44

The World According to Garp

Used as an analogy for an artist making a more commercial work to gain freedom later.

About 32 min

Ocean's Eleven

Cited as the later Soderbergh/Clooney project that this movie helped make possible.

About 1:44

Mad Men

Used as an example of a dream sequence that could have broken audience trust.

About 1:44

Fast and Furious 4/5

Referenced as the later franchise where the couple-helping-escape ending actually happens.

About 1:44

White Shadow

Ryen Russillo references it as his favorite show and uses it to explain crossover casting.

About 1:20

St. Elsewhere

Example of a crossover/reuse of a character from another show.

About 1:20

Cougar Town

Bill Lawrence uses it to explain how he likes crossovers and shared TV worlds.

About 1:28

Community

Part of Bill Lawrence’s crossover anecdote with Danny Pudi.

About 1:28
10 Running jokes and short linesRecurring bits captured from the conversation

Clooney basketball stories

Bill Lawrence repeatedly pivots to anecdotes about playing basketball with Clooney and how competitive he is.

About 56 min

Crossovers and shared universes

The hosts joke about TV/movie crossovers, from Keaton’s cameo to sitcom universe callbacks.

About 1:28

Actor ball

Lawrence contrasts real pickup players with TV-star-driven ‘actor ball’ that prioritizes star ego.

About 56 min

George Clooney smile bit

The hosts return to Clooney’s smile as a signature tool that Soderbergh had to calibrate.

About 16 min

Prison sitcom fantasy

Russillo and Lawrence riff on the idea of a prison sitcom after the film’s jail material.

About 1:44 · medium confidence

Bill Simmons

“This is the dumbest fucking shakedown”
Opening minutes

Bill Lawrence

“It's a fucking banger of a movie.”
Opening minutes

Bill Simmons

“You're a bank robber. Me? A robber.”
Opening minutes

Bill Lawrence

“You're easy to talk to.”
Opening minutes

Bill Simmons

“What if I had said something?”
About 1:28

MAKE IT A MOVIE NIGHT

Where to watch

UNITED STATES

Checking where Out Of Sight is available…

WHAT TO WATCH NEXT

Movies to watch before and after.

Three movies to watch before Out Of Sight, and three to watch next.

Finding six movies…Three to watch first and three to watch next.
Includes a Rewatchables episodePosters from TMDB.

ON THE MIC

3 voices on this episode

Bill Simmons headshotBill SimmonsThe Rewatchables
Ryen RussilloThe Rewatchables
Bill LawrenceThe Rewatchables

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