That said, the film represents the sort of lightweight offering that possessed scant theatrical prospects even before Covid, making the advent of streaming both a godsend for getting such movies made and a self-fulfilling prophecy in terms of their perceived commercial limitations. “No Sudden Move” fares better with the quirky, unpredictable nature of the characters, the impeccable period touches – from the overall look to the music – and disarmingly witty bits of dialogue, such as one tough guy snarling, “You’re not smart enough to know how not smart you are.” There’s also a terrific performance by Amy Seimetz in what could easily have been a throwaway role. At the same time, that plot – after an extremely good, tension-filled start – grows a little too convoluted and border-line confusing down the stretch, especially since it’s structurally an old Hitchcock-ian MacGuffin to set the action in motion. Solomon has crafted a pretty clever device to undergird the story, one that involves the 1950s auto industry, which brings logic to the Detroit setting. Working from a script by Ed Solomon (of “Bill & Ted” and “Men in Black” renown), Soderbergh – fresh off his Oscar producing stint – enlists a strong array of supporting players, among them Jon Hamm as a fed looking into what’s happening and Ray Liotta, Kieran Culkin, Brendan Fraser and Bill Duke as underworld figures who cross the central pair’s path. The plan not surprisingly goes awry, unleashing a series of twists, crosses and double-crosses, starting with the fact that Goynes and Russo aren’t entirely sure who’s behind the whole scheme, having only been told, not very convincingly, that “some outfit out of Illinois wants to expand to Detroit.”īurying his usual charm under a cool exterior and gruff, whispered voice, Cheadle establishes Curt as a guy who it’s probably wise not to underestimate, while Ronald is a more loquacious fellow with bad habits, among them seducing the wrong women. Owing a debt to nostalgia-dipped movies like “Devil in a Blue Dress” and the Coen brothers (the film stylistically resembling the most recent season of “Fargo”), the action unfolds in 1954 Detroit, where Cheadle’s Curt Goynes and Del Toro’s Ronald Russo are thrown together to handle what should be a pretty basic job: holding a family hostage long enough to compel the patriarch (David Harbour) to hand over some precious documents. The film premieres on HBO Max, the director’s second title for the streaming service in seven months, following “Let Them All Talk.” I think too the professional anamorphic taking lenses from Kowa must have been completely different things.Steven Soderbergh continues his prolific directing streak with “No Sudden Move,” a 1950s crime thriller that’s an obvious ode to the movies of that era and a nifty showcase for its sizable cast, topped by Don Cheadle and Benicio del Toro. I once encountered the same lens also as part of a cheaper 35mm film projection combination: a quick google shows this must have been the "Sankor Anamo-Prime". They simply look too exactly the same □Ī YT video shows they come with either blueish or yellowish coating, and that makes a difference for sure in lens flare color. On YT there are a few videos that compare the 8Z and the 16H, differences in sharpness are found, but I still guess this has to do with the calibration of the individual lenses instead of being the result of a different design. Later, when I got into film projection professionally, I always felt that this was just the 16H 16mm projection anamorphic with a different name on it to sell it to the super8 filmmaker. It was fun, but results were always a bit soft in my experience. something I had to have when a Dutch dealer in the early 1990's made it available. The synchro-lens is quite rare but they pop up from time to time in japan. Also quite a performer too, especially for such a tiny piece of glass. I owned the adapter-style for a time.easily the smallest 2x adapter in existence. Here's the synchro-focus lens mounted on a Super8 Kowa Kallo: Kowa made a 2x anamorphic designed for use on super 8 cameras both an adapter-style intended to be attached in front of primes, and also an actual synchro-focus lens (13mm f1.9). The Cine Lens Manual doesn’t list any early films using the Prominars, but it does mention that in the 90s Clairmont had a set that was used in conjunction with other anamorphics on various films, including Body Snatchers (1993), Scream (1996) and Blade (1998). I assume that would be using a Kowa projection lens mounted in front of the Super 8 zoom? That’s somewhat different to the Kowa Prominar lines of complete, single-focus anamorphics the OP is talking about, though you are in good company: according to The Cine Lens Manual some of Kurosawa’s anamorphic films (The Hidden Fortress, Yojimbo) were shot in an early version of TohoScope which utilised a front anamorphic adapter made by Kowa.
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