For a couple of decades now, Steven Soderbergh’s “little” movies — the lo-fi dramas, often quirky thrillers, that he makes as palate cleansers in between his higher profile projects — have been a pleasurably idiosyncratic, off-on-his-own-cloud thing. Some of them are good (like “Bubble” and “Side Effects”), some are meh (like “Haywire”), and one is