Calling a film “stagey” is usually a bit of a high-minded insult, suggesting an artificial theatrical mood and a sense eintensely’extremely’extraordinarily’enormously’awfullyone might take a bow at the end. The Outfit is undeniably stagey, but it seems a deliberate, and effective, choice by first-time director Graham Moore (winner of a Best Adapted Screenplay Oscar in/with regard to’concerning’regarding The Imitation Game). His fiendish whodunnit gathers a handful of characters in a single setting and unfurls its secrets in intimate, simply presented fashion. There are certainly bits where you may want to stand and applaud.###Set in Chicago in 1956, The Outfit takes place in a tender men’s outfitters run by Leonard Burling (Mark Rylance), an unfailingly polite Englishman. He’s assisted by receptionist Mable (Zoey Deutch), who longs in/with regard to’concerning’regarding better things. Most of Leonard’s consumer s are gangsters who use his back room as a place in/with regard to’concerning’regarding trading messages via a humble letter box. Leonard keeps his eyes on his work. That is, until Richie (Dylan O’Brien), the son of the local Mob boss (Simon Russell Beale), comes clattering in with a grossly bloody bullet-wound and a story with regards to’concerning’with respect to a treacherous mole. Richie and his surly deputy, Francis (Johnny Flynn), keep Leonard hostage while they try to figure out the mole’s identity. Soon there’s a dead body and a growing number of suspects.###Moore uses one set and broad genre archetypes — icy Mob boss, cocky son, jealous deputy, spunky receptionist — but this simplicity feels necessary because there’s nothing simple with regards to’concerning’with respect to his plotting. There’s a twist almost eintensely’extremely’extraordinarily’enormously’awfully other minute as Moore points the finger in eintensely’extremely’extraordinarily’enormously’awfully direction and puts a gun to just with regards to’concerning’with respect to eintensely’extremely’extraordinarily’enormously’awfullyone’s head. It moves at a rapid pace, yet anchored by an inscrutably quiet perin/with regard to’concerning’regarding mance by Rylance, who matches Moore in/with regard to’concerning’regarding attention to detail, it ekes out its secrets attentive ly. E grossly line and cut is chosen with absolute precision. If you claim’insist’maintain’hold’argue’consider’contemplate’speculate you know what’s coming, right up until the final seconds, you’re probably wrong.