![]() ![]() But the actors surrounding Rylance keep us on our wing-tipped toes, too, including Deutch, O’Brien and a detestably smooth Johnny Flynn as an up-and-coming sociopath. It might have all become too worn and torn if anyone but Rylance was at the film’s centre – he is the charming and clever type who you can, and should, never take your eyes off. ![]() Initially, Leonard’s shop seems too much of an itchy, claustrophobic setting for an entire film – yet as more rogue elements walk through its doors, and more bodies pile up in its corners, the space becomes a welcoming home for entertaining deviancy. There is an old-fashioned sensibility to The Outfit that is both reassuring and refreshing, like taking a sip of the coldest water from the comfort of Leonard’s most weathered leather armchair. Moore, who broke through with his screenplay for The Imitation Game, delivers answers to all of the above queries with quick, brutal, witty precision. The Outfit plays like a zippy adaptation of an acclaimed stage play – yet it is in fact an entirely original-to-the-screen work. Can Chicago’s finest cutter match wits with its finest killers? Can Mable help her boss, if it means going against the boss of the city? And when will Leonard possibly find time to finish stitching together his latest suit when he has to suture his way out of a quadruple criminal cross? Leonard’s long days start and end the same – with precision, and care – until one night gangland warfare breaks out, putting his shop at the centre of a bloody beef. Not so keen on the criminal activity is Leonard’s assistant/secretary Mable (Zoey Deutch), but she doesn’t have much ground to stand on, considering the eyes she makes at the ne’er-do-well son (Dylan O’Brien) of the local mob kingpin who keeps popping by. ![]() Leonard is a quiet man who wants no trouble, perfectly content with plying his trade while gangsters enter his space to make their weekly cash drops. Set in 1956 Chicago, The Outfit opens in the small workshop and storefront of Leonard (Rylance), a master suit “cutter” – not a tailor, as he reminds everyone – who uses the same skills he learned on London’s Savile Row to now dress mobsters. Nick Wall/Courtesy of Focus FeaturesĮach of these surprises, magic acts in miniature, adds up to a wry and satisfying caper that might just make The Outfit the most pleasant distraction of this young and cursed year … were it not for Moore’s decision-making come his film’s final three minutes. The film is a late-career star vehicle of sorts for Rylance, who often plays a supporting character. ![]()
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