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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.

"The Underneath" tells of a man of dubious character who returns to his home to a less than warm reception and becomes involved in a web of intrigue with money and a woman at the center. This film is good technically and artistically. Good but not great. And there the goodness ends. We're fed bits and pieces of a story involving the elements of corruption, jealously, conspiracy, robbery, murder, betrayal, and more. However, the characters are so superficial and mechanical and the film so clinical and rigid we're left to idle disengaged voyeurism. With no emotional involvement we, the audience, have nothing at stake, have invested nothing in the characters, and don't care how it ends. We're just glad it's over. (C+)

Steven Soderbergh always has interesting things to say about small Texas towns and the film The Underneath is one of his more interesting and articulate. Peter Gallagher stars as Michael Chambers, a gambler who returns to his small rural town for his mother's nuptials. While in town he tries to reignite an old flame with his ex-girlfriend, Rachel, but this leads to more problems than she's worth. Michael finds himself in a dangerous situation when Rachel's fiancée, Tommy, played by the hugely underrated William Fichtner, finds out about Michael. The Underneath has all of that familiar indie Soderbergh feel that is complete with suspense, mystery, ambiguity, and characters whose personal issues go far and beyond what the normal person living the normal life is used to.

The Underneath is a slow moving film that starts out seeming fairly pointless at first. But as it develops it grows more and more interesting. The noir-ish atmosphere combined with Soderbergh's tense cinematic style keeps this film quietly engaging. For a while it feels like a film that doesn't have much purpose and seems to be pretty straightforward. The first half of the film follows Michael as he tries to rebuild his relationships with all the people he abandoned years ago when he lost a substantial amount of money while betting. He tries to rekindle his love with Rachel, tries to make his mother happy with him again, and tries to keep his brother from hating him. The first half of the film holds no surprises but raises interesting questions and keeps you around waiting for more.

Then comes the second half of The Underneath where things really kick off and it shapes into the film that it had set out to be from the opening suspenseful tone. The mystery builds and we become innately fascinated by what is going on. The plot twists and turns right up to the very last shot which throws the entire story for a loop. It's great filmmaking and excellently engaging storytelling on an intriguingly small scale. There's nothing flashy about The Underneath, but that's what one should expect from Soderbergh.

I wouldn't say that this is a film for everybody, but fans of Soderbergh would be foolish not to check it out. It's a film with a great story, a compelling atmosphere, an consistently suspenseful tone, a good script, and decent acting. I don't know that there's much more that I could want from this fine little film.

Michael (Gallagher) left his hometown after making a mess. Such, leaving Rachel, her wife to take care it. Later, he comeback to his hometown

Underneath is a slow burner tragedy, where nothing are well, as the guy makes risky choices instead good ones. Pay attention to the switches from the present to past to truly follow the story. And it's a kinda slow at the start.

Ex-con and recovered gambler Michael Chambers returns home to Austin, Texas to attend his mother's wedding. He looks up the girlfriend that he walked out on many years prior, immediately causing problems with her criminally-inclined boyfriend. When his new father-in-law helps him get set up with a job driving an armoured car, things begin to look better for Michael but his desire for Rachel remains, sparking a cycle of events that run out of his control.

Working almost like a test bed for things he would do better later on, this film allowed the director to try various techniques and styles that didn't really work for him in this case. The plot unfolds in three different time periods are the same time, we are helped out by Michael having a beard in the earliest time periods. The point of these was to create a history for the characters and help keep the interest as we went by not knowing the past until it is significant (a trick he did again in Out of Sight). However here the characters are painted so flat that it's hard to notice any difference in them between the time periods. Also the actual past is quite straightforward and sheds light on nothing of real significance. This stalls the film for the majority and it only really gets going again towards the end, but even that is killed by a series of little twists that culminate in a final shot that simply doesn't make sense and was clearly a cheap way of ending the film on a dramatic note.

The direction is OK but perhaps a little heavy on the style. Constant shots through coloured glass makes it all look very clever but it doesn't add anything. At first I thought it was to help distinguish time period (all the armoured car stuff looks green) but then I realised he was just doing it when the mood took him. In Traffic, the emphasis on colour worked well between the three stories but here it just feels like a director trying too hard.

Gallagher is an OK actor but can't do much here to shed light on the character. We know that Michael is blessed with poor judgement but beyond that he is a mystery that even Gallagher seems incapable of getting in touch with. Elliot is pretty but also a flat character. The support cast is interesting as it has plenty of well known faces including Fichtner, Dooley, Baker and Shue but really the weakness at the top is the problem here.

Overall this is watchable despite it being a little slow and too stylish for it's own good. The overriding impression I got from watching it was that Soderbergh was trying out some ideas to work out what the weaknesses with them were. Add to this a quite straightforward story that is told in three timelines for no discernible benefit to the film and then a cheap series of dramatics when all else fails and you've got a film that doesn't tend to get mentioned in the same breath as his more recent hits.