Sure, The Outfit isn’t remotely close to perfect, if at all, good overall — it jumps through a s**tload of hastily tacked on and convenient plot points to absolute its intricate “suit-cutter” allegory with the lead character’s backstory, who was honestly more compelling when director and writer Graham Moore let the craft speak for itself in terms of who this man could be rather than making sure his origin clichés gave the story a right to some obviously inaugurated pathos — but it is admittedly refreshing to experience a single location period piece this conceptually original released in theaters today. Even if every reveal isn’t too staggering, and more often than not just serviceable enough to keep an audience’s attention, the narrative did consistently engage me because it extensively leaves viewers on thin ice for the true perspective by alternating between so many misleading possibilities during its escalating whodunit. Ultimately, I can’t imagine myself rewatching this again, but I don’t necessarily regret watching it once, especially in cinemas.
Although, this making zero dollars at the box-office right now is just going to give Hollywood even more of an incentive to not make these types of movies. Aw-shucks, time to get Netflix on the line, Moore.
Verdict: C+
“The Outfit” is now playing in theaters.
Burning the Celluloid 
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