Soderbergh's "Sex, Lies and Videotape" or his impenetrable "Kafka," but it does reaffirm the iconoclasm of both those earlier works. "King of the Hill" bears no substantial resemblance to either Mr. Soderbergh, as a film maker who keenly appreciates the idiosyncrasies of any situation, has a way of defying the usual expectations, and he turns that image into something surprisingly buoyant. In another film such a moment might be milked for either humor or pathos. There is a point in the film at which Aaron Kurlander (Jesse Bradford), the story's 12-year-old hero, is so hungry he cuts out magazine pictures of food, arranges them on a plate and digs in. With warmth, wit and none of the usual overlay of nostalgia, "King of the Hill" presents the scary yet liberating precariousness of life on the edge. Hotchner's boyhood memoir, captures something more basic: the way it felt to have that rug pulled out from underneath one without warning, and the recognition that most of one's acquaintances were trapped in similar situations.
"King of the Hill," the new film by Steven Soderbergh, which has been adapted from A.
WHEN present-day movies try to recreate the Depression, they tend to concentrate on period details: old cars, quaint costumes, dusty rugs on boarding-house floors.
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