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Rylance is one of those actors who feels both immediately approachable and unnervingly impenetrable.
Characters drift in and out, and stay behind, and disappear, sometimes with less-than-convincing reasons.
The mechanics of the story are best left unexplained beyond the initial premise.
Rylance carries the movie and then some, but hes aided by his lively co-stars.
We size him up just as Leonard does.
There is more to Leonard, of course, than the soft-spoken craftsman were presented with.
(Thered be little point in watching, or making, the movie otherwise.)
The Outfitwould probably work nicely as a stage piece.
(I was genuinely surprised to learn that it wasnt based on a play.)
But it works fine as a movie, too, with Moore luxuriating in the textures of his milieu.
We can feel the fabric and hear the crisp cuts Leonard makes.
Were trapped in this place, but its not unpleasant a cozy kind of claustrophobia.
Here, they draw our attention and make us ponder whats coming next.
The twists come early and often inThe Outfit, and theyre not exactly unpredictable.
The picture turns not on surprise but on anticipation.
One of the pleasures of a film like this is the knowledge that a new fold is always coming.
