Underneath (Soderbergh, 1995)

Soderbergh uses neo-noir aesthetics to break up time and space with different color schemes, which he uses to better effect in Out of Sight and The Limey. Not to say Underneath isn’t full of clever twists and turns, strong performances by Peter Gallagher and Alison Elliot, and a awesome display of Noir revisionist style. The film does get tiring though in the final act, but Soderbergh more than makes up for it with his vivid and lingering camera style. Maybe one of the truest to form neo-noirs, up there with One False Move and Bad Influence.

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