Is it at times funny? Yes. Is it well shot? Yes. Does the chemistry between Clooney and Lopez work? Yes. However, despite some of its individual elements working well, the film as a whole felt a little too derivative, a little too predictable and a little too bland for me to be really impressed. It's good, but not memorable good.

George Clooney's protagonist Jack Foley, is a handsome and extremely charming guy, an incurable romantic, not an advocate of violence and has the proclivity for being a modern-day knight errant, so maybe, bank-robbing is not such a fancy profession for him, but actually, he does it pretty well. In the opening scenes, it is all easy-breezy for him to talk through a young female bank clerk to give him the cash, only his exit plan hits a snag.During his prison-break, Jack and his loyal partner Buddy (Rhames) hold hostage Karen Sisco (Lopez), a U.S. Marshal, a burgeoning romance has been kindled between Jack and Karen, when they squeeze together inside the trunk of the vehicle on the exit route, the closeness of a confined space really works as a hotbed for sexual attraction, and they are talking about movies about Faye Dunaway and Robert Redford along the way.Karen manages to escape later, but becomes involuntarily preoccupied with him, she follows all the leads to track him down, and finally in Detroit, their simmering affections evolve into one night of passion, but Jack's real intention is to steal some uncut diamonds from a Wall Street millionaire, Richard Ripley (Brooks), a fellow prisoner whom Jack and Buddy have met three years ago. In order to furthermore strengthen that Jack is the bad guy we are rooting for, Maurice Miller (Cheadle) is introduced, a ruthless murderer, who is also eyeing for the diamonds, with his two underlings, a cretin White Boy Bob (Loneker) and a former boxer Kenneth (Washington). The climax is a home invasion with a taut suspense and a pretty up-tp-scratch happy ending.OUT OF SIGHT is Sundance wunderkind Soderbergh's seventh feature film and his first dalliance with mainstream production (for Universal), it becomes a critical success with 2 Oscar-nominations (for editing and screenplay), the editing job of Anne V. Coates is essential to integrate the intentionally disarranged story lines to a hipster fashion which perks up the golden-hearted criminal cliché; Scott Frank's adapted screenplay puts much weight on the comedic fodder out of the dangerous work from its source novel; also ornamented by a posh soundtrack and frisky cameos from Michael Keaton - who reincarnate as Ray Nicolette from Tarantino's JACKIE BROWN 1997, another Elmore Leonard's adaptation - and Samuel L. Jackson, as the kindred spirit inmate of Jack in the code. In retrospect, it has become a breakthrough for Clooney, who radiates both civilised sophistication and childlike nonchalance, a symbol of Clooney's own raw sex appeal in its peak, and incredibly heats up the screen with Jennifer Lopez, whose often problematic acting aptitude magically works this time. Don Cheadle gives a committed impression in the villain default, and it is always nice to see Catherine Keener and Viola Davis on the screen, but personally I find Steve Zahn's outstanding portrayal of Glenn Michaels, Jack and Buddy's cowardly partner-in-crime, stands out eventually, it is a sidekick who doesn't usually deserve our compassion or even attention, but Zahn supplies him with rather empathetic efforts to cement his feelings: fumbling frustration, palpable fear and an expedient sense of desperation.

A career bank robber (George Clooney) breaks out of jail and shares a moment of mutual attraction with a US Marshall (Jenny From the Block) he has kidnapped.First of all, this is an incredible ensemble cast. Michael Keaton, Ving Rhames, Steve Zahn, Dennis Farina. For a film that has grown increasingly obscure and forgotten, it has a fair amount of bigger names that people may want to see. Why did it become obscure? Was it as part of the anti-Lopez backlash? Who knows? Now, for me, I could have used more of Clooney as the suave bank robber who does not need a gun and less of the romantic angle between him and Lopez. Why complicate a good heist / crime story with phoney Hollywood emotions?

(54%) A clear Elmore Leonard based story with it's characters leaning both between crime and law enforcement, and sometimes even both. This has a little more than a connection with "Jackie Brown", with Michael Keaton reprising his role which is something that doesn't happen very often in movies made by different people. This though isn't nowhere near as good as "Jackie Brown", the characters aren't as well crafted, it doesn't have the depth, and the plot in general is not as good or well told. With that said it is an easier film to get into on the first watch, and it is likely to be Jennifer Lopez's best staring role of her acting career. This is worth a look, but it isn't a modern-day classic that many claim.