Out of Sight is a 1998 American action comedy film[3] directed by Steven Soderbergh and written by Scott Frank, adapted from Elmore Leonard's 1996 novel.
The film stars Clooney and Jennifer Lopez, co-starring Ving Rhames, Don Cheadle, Dennis Farina, Nancy Allen, Steve Zahn, Catherine Keener, and Albert Brooks.
There are also special appearances by Michael Keaton, briefly reprising his role as Ray Nicolette from Quentin Tarantino's Jackie Brown the previous year, and Samuel L. Jackson.
Paul Calderón reprised his role as Raymond Cruz from the film in the 2023 sequel miniseries Justified: City Primeval.
They meet Glenn to switch cars, but Sisco recognizes him from a previous prisoner transport job and convinces him to drive off with her to avoid being arrested again for assisting a fugitive.
Determined to join the task force hunting the fugitives, she independently questions Adele and happens to arrest Chino, who arrives at her apartment seeking revenge on Foley.
The source novel's origins lie in a picture Leonard saw in the Detroit News of a beautiful young female federal marshal standing in front of a Miami courthouse with a shotgun resting on her hip.
Steven Soderbergh had made two films for Universal Pictures when executive Casey Silver offered him Out of Sight with George Clooney attached.
'"[6] Soderbergh cites Nicolas Roeg's 1973 film Don't Look Now as the primary influence on how he approached the love scene between Foley and Sisco: "What I wanted to create in our movie was the intimacy of that, the juxtaposition of these two contrasting things ... We had to mix it up and have you feel like you were more in their heads.
The character Ray Nicolette also appears in Leonard's novel Rum Punch, which was being filmed as Jackie Brown when Universal Pictures was preparing to begin production on Out of Sight.
He drew upon several influences, including Lalo Schifrin, Quincy Jones, Dean Martin, Miles Davis, Sun Ra, and Willie Bobo.
The site's critical consensus reads: "Steven Soderbergh's intelligently crafted adaptation of the Elmore Leonard novel is witty, sexy, surprisingly entertaining, and a star-making turn for George Clooney.
"[11] Andrew Sarris, in his review for The New York Observer, wrote, "For once in a mainstream production, the narrative machinery works on all cylinders without any wasted motion or fatuous rhetoric.
"[12] In his review for the Los Angeles Times, Kenneth Turan wrote, "As always with the best of Leonard, it's the journey, not the destination, that counts, and director Soderbergh has let it unfold with dry wit and great skill.
Making adroit use of complex flashbacks, freeze frames and other stylistic flourishes, he's managed to put his personal stamp on the film while staying faithful to the irreplaceable spirit of the original.
"[13] Entertainment Weekly gave the film a "B+" rating and Owen Gleiberman wrote, "This is Clooney's wiliest, most complex star turn yet.
It helps that he's lost the Beverly Hills Caesar cut (he's actually more handsome with his hair swept back), and his performance is slyly two-tiered: Foley is all charming moxie on the surface, a bit clueless underneath.
"[14] Richard Schickel, in his review for Time, wrote, "What makes this movie work is the kind of cool that made Get Shorty go so nicely: an understanding that life's little adventures rarely come in neat three-act packages, the way most movies now do, and the unruffled presentation of outrageously twisted dialogue, characters and situations as if they were the most natural things in the world.