The Underneath (1995)

57% of critics liked it
(21 reviews)
38% of users liked it
(1,330 ratings)

A remake of the classic Robert Siodmak film noir Criss Cross, Steven Soderbergh's The Underneath follows much the same plot and narrative arc of the original, but expands the possibilities of its thriller structure to also explore the complexities and insecurities at the heart of modern… More A remake of the classic Robert Siodmak film noir Criss Cross, Steven Soderbergh's The Underneath follows much the same plot and narrative arc of the original, but expands the possibilities of its thriller structure to also explore the complexities and insecurities at the heart of modern relationships. Peter Gallagher stars as Michael, a compulsive gambler who returns to his Texas home for the wedding of his mother (Anjanette Comer). In his absence, his ex-wife Rachel (Alison Elliott) has married Tommy (William Fichtner), a ruthless local hood. Michael and Rachel soon resume their relationship, incurring Tommy's wrath. Out of their deceptions grows a plot to heist an armored car, a crime which requires the unwitting aid of Michael's stepfather (Paul Dooley) as well as a banker (Elisabeth Shue) with whom Michael shared a brief fling. ~ Jason Ankeny, Rovi

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Rating, Runtime: R, 1 hr. 39 min.
Directed By: Steven Soderbergh
Written By: Sam Lowry
Genres: Mystery & Suspense, Drama

In Theaters: Apr 28, 1995 Wide
On DVD: Nov 17, 1998
Studio: MCA Universal Home Video

Critic Reviews

Caryn James, New York Times
Too chaotic to work as a thriller.
Kenneth Turan, Los Angeles Times
What The Underneath lacks is the kind of emotional connection that the best film noirs have. Instead of involving, this film is distancing, too given to admiring its own shiny surface.
James Berardinelli, ReelViews
A departure from the run-of- the-mill thriller.
Roger Ebert, Chicago Sun-Times
Why did Soderbergh want to remake an old film noir, anyway? Take out the crime elements and flesh out the human elements here, and you have a more interesting movie, I think.
Joe Brown, Washington Post
Downbeat, laconically funny, arty (maybe a touch too arty), it's simmering, smoldering lowlife fun, like a good episode of Twin Peaks without the self-conscious weirdness.
Rita Kempley, Washington Post
As tales of sex and sinfulness go, Soderbergh's fourth film doesn't deliver.
Dennis Schwartz, Ozus' World Movie Reviews
Stylish, arty and quite enjoyable.
Jay Antani, Cinema Writer
An absorbing, if an occasionally plodding, experience.
Emanuel Levy, EmanuelLevy.Com
One of Soderbbergh's weakest (and unnecessary) films, this exercise in film noir, a remake of the 1949 classic Criss Cross, is marred by weak dialogue and formulaic plot, again stressing the need of a gifted helmer like Soderbergh for stronger narrative
Pablo Villaca, Cinema em Cena
Enquanto investe no desenvolvimento de seus personagens, o filme impressiona. Pena que acabe se perdendo ao insistir em várias reviravoltas pouco convincentes.
Michael W. Phillips, Jr., Goatdog's Movies
Really enjoyable, especially if you like intricate flashbacks and multiple storylines.

Read all 11 critic reviews

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Featured Audience Ratings

Melvin W

Ed Dutton: Michael, when you get to be my age you realize that sometimes the planets just don't line up. And there's nothing you can do about it. "For passion, betrayal and murder... there's still no place like home." First off, I haven't seen Criss… More
Ed Dutton: Michael, when you get to be my age you realize that sometimes the planets just don't line up. And there's nothing you can do about it. "For passion, betrayal and murder... there's still no place like home." First off, I haven't seen Criss Cross, so I'm judging this movie based only on itself. It's definitely my least favorite film from Soderbergh. The acting is bad and the dialogue is also horrible. Peter Gallagher, while by no means a terrible actor, just can't hold a movie like this up by himself. William Fitchner is good in his role, but it is still to small to make the movie any better for it. The worst acting comes from two women though, Elizabeth Shue and Alison Elliot. They made ever scene that they were in unbearable to watch. Michael returns home because his mom is getting remarried. His new stepdad offers to help him get a job as an armored truck driver. It is pretty obvious what is going to happen from here. He's going to try to pull off a robbery. Along the way, he tries to rekindle his relationship with his ex-wife, who is now married to a crook. The only saving grace in this film, is Soderbergh's cool little tricks that you see in all his movies. In the end, it isn't enough to save an overall worthless film. The movie meanders on at an amazingly boring rate for an hour and then decides to speed up for the last thirty. Then the plot gets all twisty and it just doesn't work. I didn't buy the ending at all. Still, it's worth a look if you are a Soderbergh fan. If not, this definitely isn't going to make you one. It would probably just turn you against him more.
Steve B

A not-so-bad remake of an excellent film noir. If you're a Soderbergh fan, it might do something for you, but if not, seek out the original, Criss Cross.
Anthony V

Solid Film Noir from Soderbergh, using some unique camera techniques.