If you want a new movie with a veteran filmmaker at the top of his game, you could not do better than “No Sudden Move.”

That veteran would be Steven Soderbergh, who mastered the genre with “Out of Sight,” “Traffic” and the “Ocean’s” trilogy. Now streaming on HBO Max, “No Sudden Move” runs like a vintage Corvette, firing on absolutely every cylinder.

Let’s start with the dynamite cast: Don Cheadle, Benicio del Toro, David Harbour, Ray Liotta, Kieran Culkin, John Hamm, Noah Jupe and Brendan Fraser. There’s also a late-film surprise that isn’t listed in the credits — you’re gonna love it!

Cheadle and del Toro play low-rent gunmen in 1954 Detroit, hiring on for what seems like a simple job and then swiftly getting in over their heads. Before long the pair find themselves in possession of a mysterious automotive formula that everybody wants — and as they work their way up the chain, the seekers get more powerful and the cash reward keeps growing astronomically.

It’s a web of betrayal and double-crosses where every plot-point is telegraphed only briefly, so buckle your seatbelt and hang on. The script by Ed Solomon — best known for comedy including all three “Bill & Ted” films — not only moves at a hundred miles an hour, but also features a satisfying final twist on the Big Four automakers. Not to mention lots of quirky dialog:

“Self-interest is the sincerest form of flattery.”

“That money is too expensive.”

Or how about this threat: “You’ll find yourself in all 48 states at the same time.”

And from a deskbound accountant resorting to violence against his boss: “I’m gonna punch you now, sir. I’m punching you. This is going to be a punch.”

The film is loaded with letter-perfect period detail: set design, exteriors, colors, costumes and cars are luscious to look at, sometimes evoking the work of artist Edward Hopper.

The photographer, by the way, is Soderbergh himself, though as so often he is using an alias here. His camerawork is breathtaking, with beautifully executed pans and tracks, along with every other trick in the book: high angles, low angles, Dutch angles, sideways shots, slow-motion and extremely wide lenses; Soderbergh even boldly violates the sacrosanct “180-degree rule” in one scene!

No less brilliant is David Holmes’ nostalgic jazz score. Moodily recalling the vintage noir work of Henry Mancini (“Peter Gunn,” “Touch of Evil,” “Experiment in Terror”), it’s consistently enchanting without ever overplaying its hand.

And while the storyline is crammed with rats, cheats and killers, it has considerable closure at the end, with most folks getting what they deserve.

I watched it twice in as many days, and you too may need another run-through to put all the pieces together; in any case, it’s worth a second shot just to enjoy that music again.