Full Frontal has to be one of the most misunderstood movies of the year. Not only has it been attacked by nearly every movie critic, but it seems to have audiences everywhere scratching their heads and asking; "what the hell am I watching?"

Full Frontal is an experimental film in every sense of the word and works as a wonderful excuse for the brilliant Steven Soderbergh to stretch his creative chops. While watching it, I was instantly reminded of Mike Figgis' intriguing Time Code and Richard Linklater's innovative Waking Life. These films are vastly different from one another in terms of storytelling style, but they all have the same purpose; to push the boundaries of the medium.

Full Frontal is a mostly improvised story featuring several different characters whose lives intersect in various ways. In the early stages of the project, it was being talked about as a sort of sequel to Sex Lies and Videotape. While Full Frontal doesn't feature any characters from that outstanding 1989 release, it does offer distinct similarities.

The cast is most impressive, and work together to run with this unique experiment. Julia Roberts and Blair Underwood play actors appearing in a film together. In addition to seeing their on screen movie within a movie antics, we also get a glimpse into their real lives as Soderbergh attempts to blur the line between fantasy and reality. Catherine Keener (who's made a name for herself by playing the token bitch) appears in familiar form, but her character here always seems to have a reason behind her actions and I really appreciated that. David Hyde Pierce is fantastic as a writer and Keener's insecure husband. There are many other noteworthy performances including Mary McCormack as a masseuse looking for love, as well as splendid bit parts by the likes of David Duchovny, Brad Pitt, film maker David Fincher, and Terrence Stamp in a fantastic cameo (one that's especially cool if your familiar with Soderbergh's work). If you look very closely, you'll even notice Soderbergh himself.

I was really fascinated by this movie. While nearly everyone I've spoken to was annoyed by the various film stock used to shoot this picture, I found that it benefits Full Frontal. It never bothered me at all. The scenes that are shot in that grainy digital style serve a purpose. It's supposed to feel blurred and impersonal.

Those going into this picture expecting something on par with Traffic or Erin Brokovich will be sorely disappointed. Those going in because they see Julia Roberts' name on the poster probably won't like Full Frontal either. Why did I like it? In short, I found the characters really interesting, and I admired what Soderbergh was trying to do here. Apparently, no one else in the theater did. I could hear whispers of disapproval throughout the theater. Quite frankly, I'm surprised that my friend and I weren't the only two left when the credits rolled.

Full Frontal is a terrific exercise in improvised film making. It has moments of absolute hilarity, but it's also quite heartbreaking. While many will, no doubt, find it convoluted, I found it surprising and spontaneous. Soderbergh visits some of the same themes he touched on in Sex Lies and Videotape and sprinkles them with a little bit of Hollywood satire. Most of all, I liked that Soderbergh was willing to strip it down and take a chance. After all, this guy was nominated for two Oscars in the same year. He didn't have to do this. He wanted to.

Again, those of you contemplating seeing this film should be advised that Full Frontal is not your average movie. But I'm here to defend it. In fact, I'm looking forward to seeing it again. I wish more film makers would take chances like this.