User Reviews

Clever suspense thriller with plenty of twists; they do become more obvious towards the end, but that doesn't detract from the overall journey. Considering it's use of a single location for most of the movie, it's also beautifully filmed. The cast is universally very good, with excellent acting as always from Mark Rylance that really makes the lead character work in a believable way. It is a carefully considered movie, and will reward the viewer who takes the time to appreciate the atmosphere, the characters and the plot.

A quiet, well-mannered tailor (Mark Rylance) spends his days in his shop in a dodgy area of Chicago. Some of his clients consist of the local gangsters and one night a couple of highly dangerous mobsters Richie (Dylan O’Brien) and Francis (Johnny Flynn) hijack his store for a hideout and they all must survive the night. The Outfit has so many twists and turns packed into it and demands you keep up. With the single location setting you’re left feeling like you’re about to get something along the lines of Reservoir Dogs but very quickly The Outfit makes it very clear that this ain’t gonna be what you think it’s gonna be. Once you think you have it figured out the movie takes a sharp turn in another direction and just when you think you know where it’s going again you’re thrown another twist. The entire cast are giving it their all, commanding every scene they’re in, especially Mark Rylance and Johnny Flynn. The single location setting can be a difficult one to pull off sometimes but The Outfit makes it look easy. The script is expertly written and will keep you on the edge of your seat for the duration. It brings something new to the gangster movie genre, a terrific crime movie that certainly keeps you on your toes. A stylish and suspenseful crime thriller you won’t want to miss. Highly recommended.

A câmera de Graham Moore e a disposição com que encena seus personagens prova que ele é muito mais do que um grande roteirista (do premiado "O jogo da imitação"), sendo também um talentoso diretor. Num espaço pequeno, mais precisamente em uma alfaiateria, ele consegue criar um drama teatral nu jogo de máfia e reviravoltas bem contadas, que pelo menos não soam forçadas, e entrega um filme muito bem acabado e que sabe aonde quer chegar. Retratando Chicago e o contexto das máfias da década de 1950, temos aqui uma série de gângsters que frequenta o ateliê do nosso alfaiate vivido por Mark Rylance, cuja necessidade de estar na moda quase se equivale à necessidade de andar armado. Interessante essa queda por marcas ou peças únicas, é como se houvesse realmente uma expectativa em ser parte de uma elite, e o alfaiate neste caso é apenas um ouvinte e participante da história. De repente, ele se vê envolvido em uma trama bem caprichada, em certos momentos me lembrou até mesmo "Festim diabólico" (com direito a um corpo dentro de uma caixa tampada, visível a todos). O mais interessante é que é um filme excessivamente dialogado, e como os diálogos são certeiros, consegue manter a atenção. Infelizmente não há um equilíbrio, a moça por exemplo, tem muito pouca presença, e a bem da verdade o roteiro encontra soluções bem ao capricho da trama. Ainda assim, esse exercício cênico ficou bom demais, manteve o interesse até o fim e as atuações dão conta do recado.

Even if has one too many twist in the end, The Outfit is well worth a watch for Rylance's performance alone - and for those interested in a well-constructed, character-driven thriller.

[SPOILER ALERT: This review contains spoilers.]

Intelligent 'one room' drama/suspense/thriller with a very live theatre like set design and screenplay. The low budget production does an impressive job of punching above its weight with a captivating pace that keeps you engaged throughout. Great soundtrack also. Very impressive.

If the work of a tailor is like a work of art, this film is the most identical to the work of a tailor; the handling of suspense is identified with Hitchcock's style keeping the viewer anxious, and with surprising twists.

It plays like 'Reservoir Dogs,' but the dynamics aren't as thrilling as the Tarantino classic. This one-location film frames the calculated moves of a man forged by solitude and despair who slowly reveals his true self. Mark Rylance — as a Chicago tailor who has a pact with the local mafia —, of course, doesn't disappoint, but the plot feels too convenient to feel satisfying, and it gets very convoluted for you to care. In the end, 'The Outfit' is a decent gangster film with good acting and a somewhat interesting concept, but the messy execution keeps it from becoming more exhilarating.

A well contained mafia thriller with plenty of twists and turns to go around.

(Mauro Lanari) Usually a story that respects the Aristotelian units of space, time and action is best suitable for a theatrical stage. Then there are directors, even debutants, in the mood to demonstrate their alleged stylistic virtuosity with a film transposition, and and as a rule the result is an asphyxiated Kammerspiel as in this case. Incredible that "The Outfit" is directed by the same Oscar-winning screenwriter for "The Imitation Game" (Tyldum 2014): the impression is to watch the Rylance of "Bridge of Spies" (Spielberg 2015), Oscar also to him as best supporting actor, claustrophobically dilated for 105 minutes.

A well done single location, maybe due to covid, crime film. Was glad Dylan O'Brien wasn't around for long cause his Chicago accent was ruining things for me. A Few too many twists and inconsistencies.

Clever in that satisfying “movie” movie kind of way that is a hallmark of harmless entertainment. An enjoyable popcorn film, as twisty as a locked-room murder mystery, though it’s more of a fanciful spin on the gangster picture - almost as self-mythologized as John Wick. Far-fetched but fun.

Really enjoyed it, one of best movies I have seen from the newer ones. Great story and acting and whole setup. Some might dislike as it used kinda theatre setup - I have not checked, but maybe it even has been a play before? I like such type of movies, but some dislike, but other than that it was still great.

admirable [ ad-mer-uh-buhl ] adjective worthy of admiration; inspiring approval, reverence, or affection.

[SPOILER ALERT: This review contains spoilers.]

I loved this movie! Very smart and makes you love all of the characters. I didnt know what to expect from this movie going in, but m uh expectations were well exceeded.

[SPOILER ALERT: This review contains spoilers.]

Hard to imagine I could score a movie this high when the entire film was shot at one location but the lead acting was so well performed and the plot was so intriguing I found myself forced to award it with an appropriate rating. CAPTIVATING!!

Correction of Gina K's review: "A beautifully acted, claustrophobic film set entirely in a tailor’s shop on Savile Row in London during a single menacing afternoon." In fact, the tailor's shop was in Chicago. The main character escaped from London to Chicago when his shop on Savile Row was burned down. Mark Rylance was at his usual best.

Just watched The Outfit, and my wife and I agree on a 7 out of 10 rating. Very well acted, but some weak areas in the story line and a couple of one dimensional characters don't allow over a 7. I saw another review on March 21st that has a couple of things wrong. The movie does not take place on Savile Row in London, it is entirely in Chicago. Also, it did not take place in a single menacing afternoon, it was over a two night period.

“The Outfit” is a film that’s easy to underestimate. It has the tone of a stage play, with all the action playing out in the two rooms of a tailor shop. While there are a couple of scenes of intense violence, the film relies much more consistently on nuances of word and expression to capture and maintain the audience’s attention. And this delicate enterprise is all in the hands of a first-time director. The story takes place in Chicago in 1956. Leonard (Mark Rylance) is a bespoke tailor (a maker of clothing cut from a pattern drawn from scratch for each customer) whose only apparent customers are members of the Irish mob. His shop becomes a haven from the cops, a temporary medical center and a place where messages are passed among members of the mob. As the bodies begin to topple, the roles and motives of all the key players come into question. Starting with the title of the film, the story relies consistently on words with ambiguous or multiple meanings. Is “the outfit” the piece of clothing being crafted or the mob itself? Leonard demands to be called a “cutter” rather than a tailor, despite the ominous connotation of the word. It’s a film that respects its audience by requiring acute attention to language and detail. Director Graham Moore, who won the 2014 Oscar for Adapted Screenplay for “The Imitation Game,” shows a welcome self-confidence in his initial outing as a director. He and co-writer Johnathan McClain seem to revel in pushing the boundaries of film noir (they effectively capture the cynical tone but never use flashbacks). Refreshingly, it appears to have never occurred to them that the audience might not keep up. Ultimately, this is Mark Rylance’s film. Here, he relies on the gift for understatement and minimalist movement we saw in “The Bridge of Spies.” Rylance deploys a shrug of the shoulder, a raised eyebrow or a slight widening of the eyes to communicate the same level of consequence as worlds exploding in a superhero movie. The best scenes of the film have him matching wits with the mob boss (Simon Russell Beale, a veteran of the Royal Shakespeare Company and the National Theatre in London). Leonard’s assistant, Mabel (Zoey Deutch – TV’s “The Politician”), reveals a similar facility for indirection, subterfuge and multiple agendas. For those of us desperate for narratives not drawn from comic books, “The Outfit” provides a breath of fresh air. It offers a stylish storyline, razor-sharp acting and a multi-layered set of characters cut from the highest-quality cloth.

It's usually difficult to catalogue what kind of pretensions a film might have at the outset, but I could easily tell The Outfit was a story that thought of itself as smarter than it really was. I'm not criticizing its ambition, because I did like the film, but some clear flaws prevent it from rising above the ordinary. The story of The Outfit is one that doesn't seek to complicate itself. It's kinda simple, but one of the most remarkable things about the writing is that even when the whole story takes place at the same location, it has enough unpredictable moments to keep the tension focused. The plot thickens gradually and doesn't seem to reveal much. Sure, you'll intuit a lot about Mark Rylance's character but the script doesn't reveal its gameplay carelessly. The second and last act do feel sloppy, because in what I think was its writer/director's most substantial flaw is that it seems that at the point of the climax and where the revelations start to roll in, he seems in a rush to conclude, so that part of its major functional element to entertain begins to degrade between what is shown and what is hidden. The Outfit could've been an excellent work, but its first-time director orchestrates a thoughtful and very cinematic thriller. It doesn't quite come together, but despite its limitations it was good enough.

A beautifully acted, claustrophobic film set entirely in a tailor’s shop on Savile Row in London during a single menacing afternoon. A great cast skillfully creates a constant tension and feeling of imminent danger, forcing the audience to hold its breath until the final resolution.

[SPOILER ALERT: This review contains spoilers.]

Solid gangster pic. Feels like a play adaptation. Go in with low expectations and you should enjoy yourself.

[SPOILER ALERT: This review contains spoilers.]

Mark Rylance gives another enthralling performance as a quietly reserved English tailor transplanted to 50s Chicago. Most of his regular customers are local gangsters, which results in potentially dangerous encounters. Even though all of the action takes place in one shop, it never feels claustrophobic, partially because of Graham Moore's taut direction and definitely due to the superb acting. The developments seem a bit expected, but the writing is intelligent enough and there are sufficient twists to make it a compelling little drama