The Underneath (1995)

Soderbergh reworks the source novel into a cool, interesting film noir variant with a complex structure of interwoven timelines focused on betrayals and relationships rather than the central crime. The film is praised for its sardonic lines and deeper thematic questions about trust and appearances.

James praises Soderbergh for surfacing unspoken tensions in complicated relationships, noting the film's appeal lies in its study of characters caught in emotional disaster rather than lurid noir plotting. She highlights the vivid complexity of the central relationship between Michael and Rachel as what elevates it beyond a simple genre remake.

McCarthy sees Soderbergh's remake as an intriguing meditation on personal responsibility that downplays genre thrills in favor of psychological depth, though it may limit commercial appeal. He praises the film's thematic argument and performances but notes the suppression of sex and violence diminishes its dramatic impact.

Ebert finds Soderbergh's remake of the 1949 noir Criss Cross more intriguing in its early focus on neurotic characters and personal relationships than in its later crime elements and twists. He singles out the unreliable protagonist Michael and the complex dynamic with his ex-wife Rachel for particular interest.

The Underneath is minor Soderbergh, a slim genre piece that serves as practice for later films but features bold experiments in visual style and narrative structure. The critic singles out the film's stylized color filters and a notable glacial push-in shot during a key romantic scene for praise.

Turan finds the film polished and intricately constructed but ultimately lacking emotional connection and audience involvement, making it distancing despite its visual shine and clever structure. He singles out Peter Gallagher's miscasting in the lead role as a key factor preventing viewers from caring about the character's fate.

The critic calls it a messy and impenetrable oddity, Soderbergh's first straight noir and a testing ground for later stylistic flourishes rather than a solid standalone film. They single out the unfocused editing and lack of dramatic tension in the central heist as major flaws.

The critic views it as an early misstep and Soderbergh's first foray into the crime genre via a niche remake, part of the director's development of his style after his debut but ultimately a commercial and creative letdown that lacks the punch of his later work.

The critic views the film as a clear misstep in Soderbergh's filmography, a convoluted studio noir that is formally impressive and lush at times but ultimately damned dull and sleepy.