There aren't many good things to say at all about Underneath, Soderbergh's untrue endeavor into neo-noir. Soderbergh remakes Robert Siodmak's decent noir Criss-Cross faithfully, not altering the plot very much at all, however the adaptation drains it of every ounce of its state-of-the-art film noir atmosphere, giving it the same story set in the very least appealing places, lifestyles and anachronisms. Soderbergh, who would later make wonderful crime films like Out of Sight and the Ocean's series with great style and atmosphere, takes the dangerously obvious route to modernization by renovating the story with the ugliest, dullest and flattest fashions of the early 1990s. Nightclubs have terrible, revoltingly dressed garage bands, Peter Gallagher's uninteresting version of Burt Lancaster's anti-hero is left by his femme fatale girlfriend for compulsively buying cinematically lifeless modern appliances like stereos, TVs, and other up to date pieces of equipment that suck the reaction out of the film.

It could've been more entertaining and less boring had it a few saving graces like a good score, more flesh to its characters, more than just William Fichtner giving performances that aren't wooden, a crisper pace. Unfortunately, Underneath has none of these things. Soderbergh, a fine director, does not utilize his dry detachment to the benefit of his film this time. That disposition works wonderfully when he's helming a crime movie with more tongue in its cheek like the George Clooney pictures previously mentioned, or a social or character drama like Traffic or sex, lies and videotape. With a movie like Underneath, it intensifies the boredom experienced by the viewer.

Is the sentiment of this review positive or negative?
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- negative
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negative
Det finns inte många bra saker att säga alls om Underbeath, Soderberghs osanna strävan in i neo-noir. Soderbergh gör om Robert Siodmaks hyggliga noir Criss-Cross troget, och ändrar inte handlingen särskilt mycket alls, men anpassningen tömmer den på varje uns av dess toppmoderna film noir atmosfär, vilket ger den samma berättelse som på de minst tilltalande platser, livsstilar och anakronismer. Soderbergh, som senare skulle göra underbara kriminalfilmer som Out of Sight och Oceanens serier med stor stil och atmosfär, tar den farligt självklara vägen till modernisering genom att renovera historien med det fulaste, tråkigaste och plattaste modet i början av 1990-talet. Nattklubbar har fruktansvärda, revolterande klädda garageband, Peter Gallaghers ointressanta version av Burt Lancasters antihjälte lämnas av hans femme fatale flickvän för att tvångsmässigt ha köpt filmiskt livlösa moderna apparater som stereos, TV-apparater, och andra aktuella delar av utrustning som suger reaktionen ur filmen. Det kunde ha varit mer underhållande och mindre tråkigt hade det några rädda gracilips som en bra poäng, mer kött till sina karaktärer, mer än bara William Fichtner ger föreställningar som inte är trä, en skarpare takt. Dessvärre har Undertheth inga av dessa saker. Soderbergh, en fin regissör, utnyttjar inte sin torra avsättning till förmån för sin film denna gång. Den läggningen fungerar underbart när han roar en brottsfilm med mer tunga i kinden som George Clooney-bilderna som tidigare nämnts, eller ett socialt drama eller karaktärsdrama som Trafik eller sex, lögner och videoband. Med en film som Underneath intensifierar den den tristess som betraktaren upplever. Är den här recensionen positiv eller negativ? ALTERNATIV: - negativ - positiv
There are not many good things to say at all about Underbeath, Soderbergh's untrue quest into neo-noir. Soderbergh makes about Robert Siodmak's decent noir Criss-Cross faithfully, and does not change the action very much at all, but the adaptation empties it into every ounce of its state-of-the-art film noir atmosphere, giving it the same story as in the least appealing places, lifestyles and anachronisms. Soderbergh, who would later make wonderful crime films such as Out of Sight and Oceanen's comics with great style and atmosphere, takes the dangerously obvious path to modernization by renovating history with the ugliest, dullest and flattened fashion in the early 1990s. Night clubs have terrible, revoltingly dressed garage bands, Peter Gallagher's uninteresting version of Burt Lancaster's anti-hero is left by his femme fatale girlfriend for obsessively buying cinematically lifeless modern devices such as stereos, televisions, and other current parts of equipment that suck the reaction out of the film. It could have been more entertaining and less boring it had some scared gracelips as a good score, more meat to its characters, more than just William Fichtner gives performances that are not wood, a sharper pace. Unfortunately, Undertheth has none of these things. Soderbergh, a fine director, does not exploit his dry disposal in favor of his film this time. That disposition works wonderfully when he amuses a crime film with more tongue in his cheek like the George Clooney images mentioned earlier, or a social drama or character drama such as Traffic or sex, lies and videotapes. With a film like Underneath, it intensifys the boredom that the viewer experiences. Is this review positive or negative? ALTERNATIVE: - negative - positive
negativ
negative