Gray's Anatomy

When Gray brings things to a narrative conclusion, the movie feels perfectly structured. If it were any longer, it would tip the overindulgence scale, and lose its effectiveness. But at 80 minutes, the film feels compact and pithily observed. And you're quite prepared to meet Gray on his next flight of self-absorbed fancy. [30 May 1997, p.N41]

What threatens to be 80 minutes of hypochondria turns into an inspired travelogue of nontraditional remedies. [13 June 1997, p.03]

As usual, the genius is in the storytelling details that Gray musters and manipulates, the side trips and observations, the depth of his personal observations. His near hysteria is funny in itself, though when he tries for a one-liner, it almost inevitably falls flat. But that's not a problem: It's just Spalding.

Steven Soderbergh takes Gray (who appeared in his little-appreciated gem "King of the Hill") places he's never been on-screen. Motion, color and brazen stylizing enhance what is at times a genuinely hysterical work on rationalized terror.[9 May 1997, p.F12]

Removing a live audience from the equation, Soderbergh becomes a bold participant in the storytelling. The backdrop keeps changing, from a brick wall to drapes, windows and assorted landscapes. The lighting is in constant flux, often punctuating the text on cue. Read full review

Not only is it interesting to follow the course of Gray's storyline, the movie is also equally interesting to view, even if the storyteller is just sitting in front of a desk most of the time. Read full review

Here, Soderbergh's visual additions -- gimmicky lighting, surreal backdrops, all cued to the monologue's changing rhythms -- are more distracting than enhancing. Or maybe not. In a way, the camera's empty gimmickry points to the same tendency in Gray's verbal canters -- diverting enough but, ultimately, isn't it just sleight-of-mouth? [18 April 1997, p.C5]