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Empire Admin -> Side Effects (10/3/2013 12:26:48 AM)

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tysmuse -> great movie (10/3/2013 12:26:48 AM)

Great movie. Rooney is terrific. And - surprisingly - Law is too.




My Dream Tank -> Side Effects review and critique (10/3/2013 12:42:03 AM)



Side Effects is Steven Soderberg’s last film and Matthew ‘Mr Soderbergh, I think this scene might be a good opportunity to take my shirt off’ McConaughey is nowhere in sight. The film follows an unorthadox structure and tone for a Hollywood movie, which is fairly common now for Soderbergh. But in its unique way it is exciting, thrilling, engaging and suspenseful. There are a few Soderbergh movies I haven’t seen, but this is definately my favourite from him – a good way to go out.




ElephantBoy -> RE: Side Effects review and critique (10/3/2013 12:35:59 PM)


quote:

ORIGINAL: My Dream Tank

Read the full review and critique at MyDreamTank.co.uk

http://mydreamtank.co.uk/?p=431#more-431

Side Effects is Steven Soderberg’s last film and Matthew ‘Mr Soderbergh, I think this scene might be a good opportunity to take my shirt off’ McConaughey is nowhere in sight. The film follows an unorthadox structure and tone for a Hollywood movie, which is fairly common now for Soderbergh. But in its unique way it is exciting, thrilling, engaging and suspenseful. There are a few Soderbergh movies I haven’t seen, but this is definately my favourite from him – a good way to go out.

He has been saying that for awhile now through.

Which other ones have you seen? I would recommend Solais, Sex, lies and Videotape and Traffic if you have not seen them.




R W -> RE: Side Effects (13/3/2013 3:24:20 PM)

It’s been over twenty years since his terrific film debut Sex, Lies and Videotape, and over the course of director Steven Soderbergh’s career in which he has made a film (or two) once a year, he has decided to call it quits and move on to different things. As we wait for his made-for-TV Liberace biopic with Michael Douglas as the flamboyant pianist, Soderbergh makes his send-off from the big screen with a psychological neo-noir about medicated America.

With her husband (Channing Tatum) out of prison, Emily (Rooney Mara) is suffering from depression after a series of attempted suicides. Under the conciliation of her assigned psychiatrist Jonathan Banks (Jude Law), she is advised on taking a prescription for a new experimental drug Ablixa. Despite highly recovering from her anxiety, Emily is experiencing sinister side effects.

Working once again with screenwriter Scott Z. Burns who previously wrote the emotionally-cold global epidemic ensemble piece Contagion, what Soderbergh directs here is an intimate but more satisfying piece about a young woman who though is the heart of the film, ends up being the central mystery. With Burns’ cleverly-constructed script, the film is always unravelling as it starts off as a drama about depression and a discussion about various forms of medicine, but then suddenly a single moment occurs and the whole tone of the film shifts into something rather chilling.

As the mystery continues to unfold, the film does feel like Sex, Lies and Videotape but as a thriller. There are certainly moments that script-wise that take the film into generic genre directions, such as the inclusion of Catherine Zeta-Jones as Emily’s previous psychiatrist who becomes evidence of where the film is going. However at the hands of A-list Soderbergh, he keeps the film gripping and intriguing with his stunning cinematography and Thomas Newman’s haunting score.

Following her Oscar-nominated performance in David Fincher’s The Girl with the Dragon Tattoo, Rooney Mara continues to shine as she is a revelation here as the troubled Emily. It is a performance which is sympathetic, but fears that she might be scary subconsciously. Although part of the story involves the central marriage of Emily and Martin (a fine supporting performance by Channing Tatum), the true male star is Jude Law who is at his best in years, as the bland psychiatrist who makes one mistake and determined to regain his career.

If this is to be Steven Soderbergh’s last hurrah in cinema, then this would be a great way to go as Side Effects is an intelligent neo-noir which entertains with its mysterious narrative and performances.




Conboy -> Side Effects (19/3/2013 2:15:25 AM)

Steven Soderbergh is in the zone right now, a master of genre with the capacity and creativity to tell a narrative story differently. He reveres directors as diverse as Richard Lester to Jean Luc Godard. But one of his favourite directors is Howard Hawks who had that rare capacity to make great films across different genres. From His Girl Friday to Rio Bravo to the original Scarface. Hawks worked until his early seventies but Soderbergh has decided to quit as he edges fifty. This is sad news for those of us who love his style of filmmaking. But he’s packed so much into such a short period of time. In the last year alone he’s released Haywire, Contagion, Magic Mike and now Side Effects.

The less said about the story the better, one of the great pleasures of Side Effects is the way it unwinds the story. Suffice to say it centres on a depressed young woman Emily (Rooney Mara), her husband (Tatum) and the Psychiatrist Dr. Jonathan Banks (Law) who becomes her consulting doctor. Emily is at odds with the world around her, she’s mysterious alluring and aloof. She’s also depressed describing the black fog as “this poisonous fog bank rolling in on my mind and I’m paralysed.” Pills seem to be the elixir to her depression. The narrative moves very quickly the pharmaceutical industry comes in for a battering as does the role of psychiatry linked to the pharmaceutical multi-nationals. But that’s not what the film is interested in.

What’s interesting is the way Soderbergh frames his characters by his selection of shots. Not a lot of close ups are used, he shoots from the side particularly Mara in medium close-up. Only in the flashback sequence is she presented in a clear clean way. This makes the film feel like its central character a little aloof and cold at times. There are no flourishes of style or technique which is interesting for this type of film. Like the pandemic film Contagion a scaled down version of the disa




TheMightyBlackout -> The 'whodunnit' is nicely executed; the 'whydunnit', not so much. (20/3/2013 11:41:15 PM)

While I genuinely believe Mara's performance in this film is nothing short of outstanding, everyone else seems to be largely phoning it in (with the exception of CZJ, who seems to be aiming even lower by reprising her role from Rock of Ages, but without singing).

All in all, Side Effects works well enough, but it's nowhere near as smooth as it'd like to be.




FiveFive -> Almost a classic (21/3/2013 3:24:27 PM)

Engaging and well acted, Law is a joy. Curiously as the plot unraveled, I found myself wondering which revelation I had already sussed, which made me feel part of the movie in a way not experienced since The Sixth Sense or Momento. Given the the way the movie plays out in the final act, a cleverer script would have written the good Dr Banks's lover as a supporter with a hand in solving the mystery, rather than the unthinking unbeliever running for the hills.




Hood_Man -> RE: Almost a classic (24/3/2013 5:47:28 PM)

Revenge is a dish best served via prescription [:D]




Axel Foley -> RE: Side Effects (16/4/2013 3:42:33 PM)

Side Effects starts out as an intriguing thriller on the impact of prescription drugs on a young lady suffering from depression (Rooney Mara). A twist part way through both shocks and ups the ante, but before long it becomes increasingly far-fetched, as Jude Law’s psychiatrist is plunged into full-on downward spiral, as his role is near reversed with that of his patient. Twist is layered onto twist to the point that the one is left wondering as to what film they are actually watching. By the end I really didn’t care and just wanted it to end.

Steven Soderbergh could have delivered a conspiracy thriller along the lines of Michael Clayton or The Constant Gardener, and made an informed statement on the booming market for anti-depressants, as those films did on corporate law and pharmaceuticals, but instead he opts for thrills and titillation. In fairness, it is quite enjoyable but nothing more and Law gives a fine central performance to keep things vaguely together.




Conboy -> Side Effects (8/6/2013 3:42:54 PM)

http://filmfanboy.com/side-effects/

Steven Soderbergh is in the zone right now, a master of genre with the capacity and creativity to tell a narrative story differently. He reveres directors as diverse as Richard Lester to Jean Luc Godard. But one of his favourite directors is Howard Hawks who had that rare capacity to make great films across different genres. From His Girl Friday to Rio Bravo to the original Scarface. Hawks worked until his early seventies but Soderbergh has decided to quit as he edges fifty. This is sad news for those of us who love his style of filmmaking. But he’s packed so much into such a short period of time. In the last year alone he’s released Haywire, Contagion, Magic Mike and now Side Effects.

The less said about the story the better, one of the great pleasures of Side Effects is the way it unwinds the story. Suffice to say it centres on a depressed young woman Emily (Rooney Mara), her husband (Tatum) and the Psychiatrist Dr. Jonathan Banks (Law) who becomes her consulting doctor. Emily is at odds with the world around her, she’s mysterious alluring and aloof. She’s also depressed describing the black fog as “this poisonous fog bank rolling in on my mind and I’m paralysed.” Pills seem to be the elixir to her depression. The narrative moves very quickly the pharmaceutical industry comes in for a battering as does the role of psychiatry linked to the pharmaceutical multi-nationals. But that’s not what the film is interested in.

What’s interesting is the way Soderbergh frames his characters by his selection of shots. Not a lot of close ups are used, he shoots from the side particularly Mara in medium close-up. Only in the flashback sequence is she presented in a clear clean way. This makes the film feel like its central character a little aloof and cold at times. There are no flourishes of style or technique which is interesting for this type of film. Like the pandemic film Con




UTB -> RE: Side Effects (4/8/2013 10:46:56 AM)

I enjoyed this - as mentioned above it starts out like an attack on the pharmaceutical industry then twists into a revenge-noir thriller and doesn't jar at doing so.

The one character/performance that didn't sit right for me was Vanessa Shaw as Bank's wife... not once did she even consider giving him the benefit of the doubt and as Mrs UTB said to me, "I'd have been pissed but I would have still let you try to explain it...".

Still, a good thriller nonetheless.




Sumintelligentguy -> RE: Side Effects (12/8/2013 1:19:55 AM)

I just finished watching this. I wasn't expecting the film to take the direction it did - which I thought was a good thing.

MASSIVE SPOILERS.

Two things that bothered me though, did Emily end up in a psychiatric unit or prison? If it was the former, that wouldn't have made any sense because she was sane (well, to a degree) when she was carrying out those actions.
And did Jude Law get away with the money? I hope not or that wouldn't have made sense either.

All in all though, a pleasant surprise.

And I now know what insider trading is [:D]




squeezyrider -> RE: Side Effects (16/9/2013 10:40:15 AM)

Spoilers as I attempt to answer the questions of the post above.

Yes she was declared sane but not at the time she committed the crimes. Once Jude Law had her as a patient she was entirely at his mercy. He declared her sane on his terms to have her released from the institution she was in but as soon as she attempted to rebel against him he declared her insane again. Once she was in the asylum at the end she was never getting out any aspect of her behaviour could be declared by Jude Law to be a symptom of her disease. "She's saying you're holding her prisoner" "Ah a symptom of her paranoia"




movienut707 -> "Here I am. Cured at last." (20/11/2013 3:42:05 PM)

Assembling a bevy of talented actors and working from a smart script by Scott Z. Burns, director Steven Soderbergh crafts an intelligent, deliberately paced psychological thriller.




chang -> RE: Side Effects (31/12/2013 12:04:52 PM)

Soderbergh is less interested in making statements than he is in skillfully fulfilling genre expectations.




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