“The Outfit” is a film preoccupied with stations—with the question of how people slot into society and, every so often, feel a compulsion to change slots.
A cold Chicago street, on a dark morning, in 1956. A storefront so discreet that it could be the entrance to a funeral parlor. Look closely, however, and you see the words stencilled on the window: “L. Burling. Bespoke.” And here comes Leonard Burling , making an early start. He is a tailor by trade, though he prefers to be called a cutter, and, as he brews a pot of tea, dons an apron, and oils his trusty shears, he talks us through the mysteries of his art, in a gentle voice-over.
Chicago has furnished Leonard with a new breed of patron—folks like Roy Boyle , a Mob chieftain, and Roy’s son Richie , a poor reflection of his father’s solid self. Roy is fond of Richie, but he’d sooner rely on a henchman named Francis . “Those customers are not gentlemen,” Leonard says to Mable, after Richie and Francis pay a visit. No, indeed. The wiseguys use Leonard’s store as a place where packages can be dropped off and collected, and you can see why.
This is Moore’s first feature as a director. He made his mark as a writer, and his screenplay for “The Imitation Game” won him an Academy Award. The plot of the new film, which he co-wrote with Johnathan McClain, is all curves and no straights; even those of us who go wild for twists may wonder, as the narrative enters yet another chicane, if we are getting too much of a good thing. To be kept guessing is not quite the same as being thrilled.
It is twenty years since Adrian Lyne’s last movie, “Unfaithful,” which was all about a husband who was driven to distraction, and worse, by an adulterous wife. Now, in “Deep Water,” Lyne breaks new ground with the tale of a husband who is driven to distraction, and worse, by an adulterous wife, but who is able to sublimate his despair, to an extent, by raising snails.
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