Side Effects Reviews

Since I have always been interested in Steven Soderbergh's work, of course, I was really eager to check his (supposedly) last theatrical effort. Well, to be honest, I find it rather hard to judge the whole thing. I mean, there were many things that I did enjoy a lot, the directing was really solid and there was a stellar cast who gave some strong performances (Rooney Mara, Jude Law, Catherine Zeta-Jones, Channing Tatum). And yet, as often with this director, during the whole thing, I couldn't help thinking that once again, he was just playing around, experimenting with his new toy without caring much for the end-result. Indeed, basically, the first half was an interesting study about the effects of depression. It was definitely intriguing, even though I didn’t care much about the huge focus on the medication. But then, the second half turned into some efficient but still rather far-fetched thriller and, apparently, everything we saw in the first half about depression, the meds and all that stuff was just pretty much bullsh*t. The more I think about it, the more it actually annoys me but, at least, it was well made. To conclude, I'm pretty sure my rating is actually too high but I still think it is worth a look, especially if you're interested in Steven Soderbergh's work.

A fine thriller, I thought I knew the twist before it reveal but I failed though it was a simple one. They utilised concept very well, about the side effects of the pills. In most of the scenes some logics were missing, still people have somehow knowledge about how it all works. But you know in movies, a doctor can do lawyer works, a lawyer can do engineering work and an engineer can do the doctor work. All are fair and square.

Wow, Rooney Mara looked so cute in the movie, is it only me or for everybody as well!. There's not much to praise Channing Tatum. The usual, fine performance by Jude Law but Catherine Zeta-Jones' character surprisingly took the story towards her side in the 2nd half of the movie. Yes the second half was much better than the first due to puzzling the characters, the falling and rising of the characters.

The movie had a sufficient suspense to hold the audience to keep interested. Like most of the mystery theme, the twist breaks out at great timing and in a style. It was not a masterpiece but will be one of those well made crime-thriller with backdrop of medical related. A watch will be good enough.

FIRST IMPRESSIONS

The plot revolves around Emily Taylor, as she's prescribed a new experimental medicine for her bouts of depression – and at first, it seems like it's going to be a straightforward tale of her trying to live with it. Then, after she kills her husband while sleepwalking as a side effect of the drug, it becomes a completely different movie: a legal drama first, as it's debated who should be held responsible for her actions, and then a conspiracy thriller, as her psychiatrist, Dr Banks, tries to uncover the truth.
I have to admit, this is a tough one to review. It's definitely well written; I can't see any plot holes or loose ends in the mystery. The acting, for the most part, is solid, especially from Rooney Mara.
But I wasn't totally impressed. While I got the basic gist of how the mystery was unfolding, the conclusions that Dr Banks comes to – or rather his explanations for how he came to those conclusions – went right over my head. So his various attempts to get information left very little impact on me, because nothing that was being said really earned my interest until the very end. And, without actually giving away the final revelation, let's just say it's clear why those involved would want it covered up! :)
To sum up, I can understand perfectly if you were fully invested in this movie. It's just that, personally, I wasn't. Honestly, I found myself wishing for the conclusion to just hurry up.

My rating: 60%

"Depression is the inability to construct a future."

Side Effects is not a motion picture that easily lends itself to a review, as it's hard to talk about this sophisticated thriller without revealing the numerous surprises that make it an enthralling watch. The screenplay by Scott Z. Burns (Contagion) is laden with plot twists, hence potential viewers are advised to watch the movie before reading too much about it. All you need to know is that Side Effects is a terrific film crafted by a superlative director starring a solid cast, and it delves into intriguing subject matter. In fact, if the movie had been made four decades ago, it most certainly would have been directed by Alfred Hitchcock, as Burns' script incorporates a number of Hitch's staples. It ventures into conventional plotting territory into its third act, yet it's handled with superb sleight of hand, and it offers genuine surprises as twists are revealed, and our perceptions of events and characters begin to change.

A young woman living in New York City, Emily Taylor (Rooney Mara) is ready to welcome her husband Martin (Channing Tatum) back into her life after he's released from a four-year prison stint. Emily should be happy about Martin's return, but she cannot shake severe feelings of depression and unhappiness, leading to a suicide attempt that lands her in the hospital under the care of psychiatrist Dr. Jonathan Banks (Jude Law). Although Banks prescribes antidepressant medication, Emily's condition seldom improves. Until, that is, Banks prescribes a new form of medication recommended by Emily's former therapist (Catherine Zeta-Jones). While Emily's new meds appear to be working, a side effect emerges: she sleepwalks at night, cranking up music and making meals. When one sleepwalking incident ends in tragic circumstances, Emily is suddenly thrust into a court case, while Dr. Banks fears that investigators will ultimately turn the blame onto his medical expertise.

Burns and director Steven Soderbergh previously worked together on the topical drama Contagion, and Side Effects similarly touches upon important, news-worthy scenarios. At the outset, the movie explores a handful of controversial topics, including the ethics of carelessly distributing prescription drugs, the devious practices of major pharmaceutical companies, and the power given to psychologists who can control and manipulate their patients. But while these themes run throughout Side Effects, it ultimately segues into more of an investigative mystery with shades of film noir. The shift could have felt unnatural and jarring, but Soderbergh pulls off the transition with ease, retaining the clinical drama tone and never relinquishing the picture's intelligence. It's a somewhat Hitchcockian twist (think Vertigo, though Soderbergh is not that good); in fact, the film tackles the "innocent man wrongly accused" theme that the Master of Suspense was such a fan of. It's ultimately difficult to categorise the movie as a whole - it's at once a deceptive character study, a compelling drama, a message movie, and a mystery-thriller.

While the narrative is old-fashioned, Soderbergh's cinematic approach is distinctly contemporary. Acting as his own cinematographer (as usual), the director's technique is subdued yet effective, keeping the picture grounded even when things grow a little sensationalised. Soderbergh handles Side Effects with precision, shooting digitally with Red Epic cameras. It's not as glossy as a more traditional film; rather, the look is colder and more utilitarian. Soderbergh also furthers the Hitchcock comparisons with a Psycho-esque opening shot that pans across the city and through an apartment window to reveal a blood-stained murder scene. Subsequently, the film flashes back three months to show the lead-up. But while an opening like this usually reveals the endpoint, here we learn what happens by the middle of the film.

The actors sell everything in the film extraordinarily well. Mara is especially strong as Emily; her role is multifaceted, yet Mara effortlessly pulls off all requirements. It's a different performance for Mara, who was also glimpsed in The Social Network and David Fincher's remake of The Girl with the Dragon Tattoo. However, it's Law who carries the entire film as the well-meaning, charismatic psychiatrist. Law's work is exceptional here, supplying an affable anchor to keep us interested in the complex narrative machinations. Meanwhile, Tatum (who was also in Soderbergh's surprise hit Magic Mike) is strong here, as well. Tatum used to be a stiff performer, but he has honed his craft over recent years and is now a surprisingly reliable presence. Rounding out the main players is Zeta-Jones, who is also in fine form.

Despite its strengths, Side Effects is no masterpiece. With so many complicated machinations happening throughout the narrative, the ending seems to wrap things up too neatly and quickly, as if Soderbergh wanted to rush through to the finish line to get to his retirement. If Side Effects indeed turns out to be Soderbergh's final theatrical motion picture, as the filmmaker has been saying, then it's not an inappropriate swansong; the crisp digital photography, air of cynicism and strong performances are all in keeping with the director's strongest efforts. Soderbergh is a voice in cinema that will be missed, as he's capable of creating both well-made blockbusters and enthralling talky dramas. How fitting that Side Effects is essentially a fusion of those two opposing sensibilities, reminding us just why Soderbergh is such an interesting filmmaker. It's not his best film at all, but it is intelligent and engaging.

7.9/10

A surprising (supposed) final effort by Soderbergh. Commenting on a genre while working within it, playing with gender stereotypes and employing social commentary have always been something that the occasionally very good director has pulled out of his tool belt; yet it has been quite a while since he has been so affecting. "Side Effects" is a strong final effort by the director but I think the real hero of this film belongs to the screenwriter for the very smart script. Every actor does well here with the exception for Zeta-Jones who tramples over all the other understated performances with way too much effort. The film itself gets a little muddied up in the details to try to keep everything moving forward at the very slick pace, but it moves so quickly diverting your attention that you barely have time to think critically about how the scene you are watching relates back to the previous ones. This definitely deserves multiple viewings though it is too slight a film to be given a title such as a "modern noir masterpiece" such as Rian Johnson's "Brick"

I give it a Strong "B" rating or 3 1/2 out of 5 stars.