LeonLouisRicci Another ultra-slow film from the master of ultra-slow films (Solaris, Contagion). This overrated Director is once again showing how to take a classic like Film Noir's Criss Cross (1949) and covering it with neo-nothing.Here his "stylized" cinematic turns are so glaringly intrusive that it does nothing but draw attention to the fact that the film is a yawning yearn for yesteryear.A sympathetic feeling for modern moviegoers that take this stuff as serious cinema when it reveals itself to be nothing more than frivolous fluff with ideas that go nowhere (notice all the lottery references). Oh get it...that's suppose to be some sort of subliminal reference to the struggling lower middle class and their unattainable utopia. But never fully brought home, this is indicative of the kind of artsy "insight" from a wannabe, near-sighted visionary.

Ben Larson Not really noir, as it is in color, so we can call it neo noir and be done with that.Michael (Peter Gallagher), the prodigal son, returns home for his mom's wedding after being exiled for some past trouble. The flashbacks throughout the movie show us what happened, but it really doesn't matter.What matters is the fact that he takes up again with his old flame, Rachel (Alison Elliott), who is now married to a local hood (William Fichtner), a fact she neglected to tell him.To get out of trouble with the hood, he agrees to do an armored car robbery. His own brother (Adam Trese) suspects him.One of director Steven Soderbergh's early works, it will not blow you away, but it will entertain you. I suspect the ending will leave you furious.

Eugenia Loli I find 'The Underneath' to be a 'weird' movie, and I don't mean 'weird' in a good way. It's weird in a negative way, it just doesn't make sense in some parts, like the stranger in the hospital, or the hidden agendas of everyone in this movie.I think the scriptwriter wanted to make this a cool-twisted thriller, but it came out as a mashed up incoherent drama.Peter Gallagher was good and William Fichtner even better, but they were not enough to save this movie from being boring and incoherent. Too bad Elisabeth Shue didn't have more scenes and we didn't get to see more of Adam Trese's character which left more questions than answers.I suggest you watch this movie only if you have nothing better to do.

gridoon Soderbergh's showoffy stylistics (color filters, flashbacks, first-person point-of-view shots) try - and mostly fail - to "spice up" a cliched and insignificant plot. Don't bother looking for anything fresh in this movie, it's the same old drifter-back-to-his-hometown / femme fatale / dangerous husband / heist-gone-wrong / last-minute-betrayal storyline. Peter Gallagher's detached, almost catatonic approach seriously affects the movie, but Alison Elliott shines playing the most complex by far character in the film and William Fichtner impresses even in his completely stereotypical bad-guy role. (**1/2)