NOTE: A slightly different version of this post first was published at FILMINQUIRY.COM, an independent film magazine.
Back in 1993, Steven Soderbergh, just off the disappointment that was his ambitious yet unloved second feature, Kafka, turned his attention to a property best described as a sure-thing, a money grab if you will: writer A. E. Hotchner’s despairing, yet uplifting, childhood memoir “King of the Hill”. Of course I jest.
