The film screwdly portrays the hero as a witty, angst-ridden nihilist surrounded by other nihilists (Tommy D and the hero's ex)who are one, and two, steps ahead of the hero, respectively (of course the Joe-Don Baker figure is three steps ahead). The unpretentious psychological depths of the film are one of its strongest features: Michael wears his Dad's suit to his mother's wedding, misuses the word "divorce" for marry" with respect to his mother. The homely, trite, but nevertheless tender relation between the mother and her new husband is a wonderful counterweight to Michael and Rachel's wicked (though much sexier) egotism. Settled age, age that has seen its limits, lived a lot, and wants the pleasures of company and routine are counterpoised to Rachel's cunning, calculating, perverse ambition. The brother figure - brilliantly acted - is an alternative to Michael - for he is dutiful to his mother and law-abiding. And yet, he also simmers with plots, and secretly envies his brother's bad-boy charm, good looks, and way with women.
The film's first 10 minutes are confusing, but once you get hold of the style it flows pretty smoothly. The Underneath actually gets better as it goes along building to a climax that stays within the established rules of a film noir but is brilliantly realized by director Soderbergh. This is a movie that brilliantly weds selfishness with our common existential yearning for more and more possibility. It is a morality tale to the extent that it shows how destructive can be the pursuit of total ego-gratification, but it shows us this without also denying that Mom's tranquility and comfort in old age consists in a vacant stare into the television, hoping to win the lottery. A watered down form of the same despair her son expresses through gambling, irony, and deceit.
Overall rating: 7 out of 10.
The film's first 10 minutes are confusing, but once you get hold of the style it flows pretty smoothly. The Underneath actually gets better as it goes along building to a climax that stays within the established rules of a film noir but is brilliantly realized by director Soderbergh. This is a movie that brilliantly weds selfishness with our common existential yearning for more and more possibility. It is a morality tale to the extent that it shows how destructive can be the pursuit of total ego-gratification, but it shows us this without also denying that Mom's tranquility and comfort in old age consists in a vacant stare into the television, hoping to win the lottery. A watered down form of the same despair her son expresses through gambling, irony, and deceit.
Overall rating: 7 out of 10.