Great review. It’s hard not to forget that Soderbergh directed the uber-artsy Kafka along with the more mainstream films he now seems to be most recognized for. Section 8 was perhaps the most important production company during its run and his work with George Clooney beyond the Ocean’s films was simply a miracle. It’s not the “empire” one of your readers mentioned that’s noteworthy, but what they’ve done with their imperium. That two people chose to use their wealth and mojo in the way they have is amazing to me. A look through Soderbergh’s production credits on IMDB is interesting: I’m Not There, Through a Scanner Darkly, Syriana, Michael Clayton. And Bubble, which shows what Soderbergh can still do with no budget, was one of the best uses of DV (not to mention amateur actors, and a continuously evolving script) I’ve seen. There are few people in cinema I’d like to know, but Soderbergh is one.

It’s also worth noting David Holmes’ outstanding music for this. This movie makes you feel cool for watching it, not unlike a Leonard novel.

I believe the reason Jennifer Lopez soars in Out of Sight is because of Elmore Leonard and Scott Frank’s writing – as Jeremy pointed out, Karen Sisco is one of the great modern movie characters – as well as the foresight of the casting directors and Soderbergh in selecting her for the role. While a director does matter and deserves part of the credit, I think all of these people deserve “props” for Lopez’s electric performance.

Joe: The internet is less of a resource for music than many people think. Or, it tends to skew toward very mainstream popular stuff — many is the time I’ll hear something in streaming from, say, Last.fm, or Swedish radio (www.sr.se), or just my local community radio station (KBCS) — and not be able to find it.

That said, yeah, Holmes’ score is great. As is Cliff Martinez’ for “Solaris.”

“Out of Sight” is one of my all-time favorites. I’m partial to caper films in general (”The Thief Who Came to Dinner,” “The Hot Rock,” “To Catch a Thief,” etc.), but I feel this is very well done.

Re Ms. Lopez — well, this movie’s proof that sometimes, a director really can matter.

If it comes to that, this movie has historical importance because it’s the first Clooney-Soderbergh collaboration, and given their burgeoning empire — not just in their usual roles, but Clooney directing, and both producing — that’s a relationship that’s producing more and more worthy material.

Megan: “Outside influences”? Just pretend Lopez never entered a recording studio. She doesn’t sing in the movie, which is probably the best demonstration of her talent out there.

Jeremy: Thanks for your insightful comments, as always! It’s astonishing how great music can elevate a film to a whole other level, and Soderbergh caught a break hiring David Holmes to do the music here. I’m surprised his entire score isn’t available on the Internet somewhere.

I don’t know if I can watch it again, without seeing capital G-George and capital J-Lo.

I love this film. It’s a ‘comfort film’ for me: watching it will always make me feel better, more relaxed. And that scene in the back of the trunk is a wonder.

I didn’t know Sandra Bullock was originally in the running for the Karen Sisco part. Far be it from me to defend La Lopez’ acting abilities, but in this particular film, I don’t think anyone could have done better.