“No Sudden Move”: A Deep Dive into Soderbergh's Neo-Noir Gem

In 2025, Benicio del Toro has re-established his presence on the cinematic stage through notable collaborations with acclaimed directors Wes Anderson and Paul Thomas Anderson. While these projects have rightfully captured the spotlight, another compelling film, 'No Sudden Move,' showcasing del Toro's talent under the direction of Steven Soderbergh, has been quietly awaiting discovery on HBO Max. This neo-noir thriller, initially overshadowed by the pandemic's impact on film distribution, deserves renewed attention as a significant entry in Soderbergh's recent prolific output. It offers a unique exploration of classic crime tropes infused with contemporary socio-economic themes, all while highlighting del Toro's understated yet powerful performance. The film's intricate plot and distinct visual style contribute to its status as a standout piece in the genre, demonstrating the continued relevance of intelligent, character-driven thrillers.

Benicio del Toro's recent cinematic ventures in 2025 have seen him reunite with two esteemed filmmakers: Wes Anderson for 'The Phoenician Scheme' and Paul Thomas Anderson for 'One Battle After Another.' In both films, del Toro's quiet intensity and captivating presence are skillfully utilized, often for a deadpan comedic effect, while still allowing for profound character development. In 'The Phoenician Scheme,' he portrays a morally ambiguous and affluent businessman traversing the Middle East, driven by a self-serving infrastructure endeavor. Conversely, 'One Battle After Another' casts him as a martial arts instructor and community figure with historical ties to a disbanded revolutionary organization. These roles underscore del Toro's versatility and his ability to embody complex characters with minimal yet impactful expression.

Interestingly, neither of these 2025 productions directly mirrors our present reality. 'The Phoenician Scheme' is set more than five decades in the past, while 'One Battle After Another,' despite its contemporary setting, deliberately avoids naming real political figures or major public personalities. Nevertheless, both films adeptly employ familiar and engaging frameworks—heist narratives and action-thriller confrontations—to delve into pressing societal concerns. 'One Battle After Another' tackles the theme of resistance against white supremacy, while 'The Phoenician Scheme' critiques the insatiable greed of capitalism. This strategic use of genre allows the films to explore complex social issues without being overtly didactic, providing viewers with both entertainment and thoughtful commentary.

'No Sudden Move,' while initially not as overtly thematic as del Toro's other 2025 projects, gradually reveals its depth. Set in 1950s Detroit, the film skillfully emulates the gritty, intricate style of the era's noir cinema, a period before the genre's decline. The narrative unfolds with career criminals Curt Goynes, played by Don Cheadle, and Ronald Russo, portrayed by del Toro, entangled in a classic noir predicament: recruited for a seemingly simple task with an unusually high reward. The plot thickens as gangster Doug Jones dispatches Charley to accompany accountant Matt Wertz for crucial paperwork, while Curt and Ronald are tasked with ensuring Wertz's family's compliance. However, a sudden shift in events, when Charley attempts to execute everyone present, forces Curt and Ronald to intervene, exposing a deeper conspiracy. The remainder of the film follows their frantic efforts to decipher the situation, evade law enforcement, negotiate with various criminal factions, and ultimately secure their survival.

Ed Solomon's screenplay for 'No Sudden Move,' though at times convoluted, is expertly navigated by an impressive ensemble cast and Soderbergh's meticulous directorial approach. The director employs unique fisheye lenses, subtly distorting the edges of the frame. In scenes featuring multiple characters, such as the intense meeting involving Cheadle, del Toro, Fraser, and Liotta, the visual technique creates a sense of subtle compression, contrasting the calm demeanor of the former pair with the explosive rage of the latter. Shots tracking a single character's movement across the screen further distort the surrounding environment, contributing to an unsettling and dreamlike atmosphere that avoids the conventional black-and-white aesthetic of noir, allowing Soderbergh to exploit vibrant color palettes, where splashes of red or sickly yellow pop against deep shadows.

Del Toro's performance in 'No Sudden Move' is particularly noteworthy for its fine, subtle nuances, often emerging from the shadows. His established enigmatic presence, a quality leveraged in his other 2025 films, feels particularly fresh here. This role marks a refreshing change for him after a period predominantly spent in sequels, whether to his own acclaimed work like 'Sicario' or in established franchises like 'The Last Jedi.' 'No Sudden Move' serves as an excellent starting point for a series of innovative crime films, showcasing del Toro's ability to convey complex emotions through facial expressions and understated gestures in the classic noir tradition.

Although 'No Sudden Move' features a complex web of characters and plot twists, it maintains a leaner narrative than 'Traffic,' Soderbergh's previous collaboration with both del Toro and Cheadle, for which del Toro earned an Oscar. This film reflects Soderbergh's more experimental and streamlined directorial phase, despite exceeding his usual 95-minute runtime. Furthermore, Soderbergh revisits a later-period trademark by positioning 'No Sudden Move' alongside films like 'Logan Lucky,' 'Unsane,' and 'Kimi'—as well as del Toro's recent work with the Andersons—as a thriller explicitly set against a backdrop of unchecked capitalism.

The film’s pivotal MacGuffin is a pointedly corporate device, diverging from the typical noir focus on illicit cash or criminal scores. While elements like score-settling and shady payments are present, the true objective of the antagonists extends beyond mere criminal enterprise, connecting to a broader critique of corporate greed. The film avoids being preachy, instead presenting a crime boss who operates outside the traditional gangster archetype, using corporate structures to circumvent regulations. The concept of a corporate figure orchestrating a conspiracy is not novel, but Soderbergh's casual presentation of this reality is what sets it apart. This portrayal underscores the pervasive working conditions, akin to those faced by characters in 'The Phoenician Scheme' and 'One Battle After Another.' Curt and Ronald are not portrayed as anti-capitalist heroes; rather, they are compelled to navigate a system where self-preservation is paramount, hoping to emerge unscathed.