Steven Soderbergh has been threatening to retire from filmmaking for some time now, but with Side Effects, he really means it. This is the last theatrical feature that the director of some of the finest movies of the past twenty-five odd years (if forced to choose, my Top 5 would probably look something like King of the Hill, Out of Sight, Che, The Limey and The Informant!, but that's leaving out a host of other great films, including sex, lies and videotape and Contagion) will helm for the foreseeable future, as he instead turns his focus to other artistic pursuits, painting and theater among them. (Soderbergh's does have one last narrative feature in the pipeline, the Liberace biopic Behind the Candelabra, which is scheduled to premiere on HBO later this year.) As a swan song, Side Effects -- which stars Rooney Mara as the pill-popping wife of a disgraced Wall Street turk (Channing Tatum) fresh out of a prison stint for insider trading -- won't join the ranks of Soderbergh's finest achievements, marred as it is by a third act turn into thriller territory that, while entertaining, suffers from a series of too-convenient coincidences and a reliance on one very unfortunate stereotype. Still, the film does effectively encapsulate what has made him one of America's leading directors for almost three decades now... and why he'll be missed now that he's (at least temporarily) gone.

Watch these new movies on VOD.

By the time Steven Soderbergh retires (we're still waiting to find out whether it'll be temporary or permanent) from filmmaking following the release of his final theatrical release Side Effects and the HBO premiere of his last film, Behind the Candelabra, he'll have helmed more than 25 features and a handful of shorts. And while many of those movies have deservedly received extensive acclaim and awards attention, some great ones have slipped through the cracks and still remain misunderstood and/or unappreciated. (Others, meanwhile, have deservedly languish in obscurity... looking at you, The Good German.) Here are our picks for the retiring director's five most underrated movies, in order of release; with no new Soderbergh features on the horizon for the foreseeable future, maybe these will finally get some attention.

Don't fly these friendly skies.

We critique all the big movie ads that aired during last night's big game, from Iron Man 3 to World War Z.

I generally try not to be too persnickety when creative types take liberties with long-established mythologies. Vampires that sparkle in sunlight instead of burn to a crisp? Kinda stupid, but okay. Peter Parker gains his web-shooting abilities organically rather than through invention? Not ideal, but I'll run with it. So I went into the new zombie rom-com Warm Bodies with an open mind, not thrilled about the improbable idea of watching a member of walking dead fall in love with a living, breathing human, but willing to be persuaded that such a thing might be possible. Unfortunately, not only did Warm Bodies -- which writer/director Jonathan Levine adapted from a book by Isaac Marion that, full disclosure, I haven't read -- fail to convince me of its central conceit, but the movie's general depiction of zombie life is shoddy, inconsistent and often downright dumb. As silly as I felt muttering to myself "But a zombie couldn't/wouldn't do that!" at every turn, that's how much the movie got on my nerves and made it almost impossible to enjoy its few modest charms. Here are the most irritating changes Warm Bodies makes to zombie lore.

Leave it to a pair of old pros to teach all those young whippersnappers out there how to make a crude, violent, racist, exploitative, T&A-filled and altogether brainless action movie. Dumb as a bag of rocks and as blunt as a... well, a bullet to the head, Bullet To the Head brings director Walter Hill and star Sylvester Stallone together for the first time in their respective careers. It proves to be a fruitful collaboration, with the two of them bringing out the best in each other. Now, that's not to say that movie itself is any good, because it's not... at least, not in the typical definition of "good" where elements like storytelling, character development and thematic subtleties are taken into account. No, this particular brand of "good" is more sensory in nature; while watching Bullet To the Head you're acutely aware of how stupid and pointless the whole enterprise, yet at the same time the movie successfully delivers a steady stream of short, sharp shocks to your system that keep you engaged. Put another way, it's bad, but it's never, ever boring.

If you've ever dreamed of seeing Al Pacino, Christopher Walken and Alan Arkin together in the same movie, well... keep on dreaming. Because whatever deranged feature your mind conjures up while you're sleeping will almost certainly be better than Stand Up Guys the painfully bad crime comedy that finally unites these three acting legends under the guidance of director Fisher Stevens. (Yes... that Fisher Stevens). Not since Pacino squared off against Robert De Niro in Righteous Kill has a single movie so thoroughly blasphemed a set of Acting Gods.

We break down the nominees for live action short.

We judge this year's crop of the animated shorts that are up for Oscar.