Side Effects

SPOILERS AHEAD. With the opening Psycho shot, Soderbergh tips his hat to Hitchcock, the father of grown-up thrillers, for whom playing with the viewer was also more important than the convincingness of the games that the characters play with each other. The camera angles are improbable, yet effective and full of meaning. They point out the deviant nature of reality as Emily perceives it (or rather how we are supposed to think she perceives it), often situated outside the centre of the shot (of course, if she is speaking for herself, i.e. not in her role, the centre belongs to her). The off-kilter shot compositions give rise to the disturbing feeling that something is missing and that, like Jon, we do not know everything. Whenever a close-up is used, it has a “higher” justification, which is revealed in the second half of the film. Furthermore, the close-ups, some of the dialogue and the music lead us in the wrong direction, creating the false impression that this is a pharmaceutical thriller with dangerous drugs as the main culprit (Ablixa ultimately turns out to be only a MacGuffin), or perhaps a mysterious film-noir (the Haitian who saw a ghost, the eerie “ringing” musical motif recalling the sleigh bells in Belle De Jour). But then comes the first twist, bringing about changes in the narrative perspective and the existing allocation of roles. Only the second viewing makes it possible to appreciate the casualness with which we are made aware of the fact that Emily is faking her mental disorder. Her first scene begins with a close-up of her lips, to which she applies lipstick before her performance. She is subsequently surrounded by mirrors throughout the first half of the film. Doubts about who is actually the culprit and who is the victim – doubts that give rise to a significant part of the film’s dramatic tension – persist even after the final shot, which serves as a symbolic closing of the circle. Instead of a linearly constructed thriller with clearly defined characters, we watch a disturbingly cyclical detective story (like a boomerang, the crime that Martin committed comes back to haunt him) with a capricious perpetrator. In addition to flawless craftsmanship, Side Effects offers warnings about the misuse of medical authority (and confidential information in general) and allusions to the financial crisis. Mainly, however, the film refers to the time of its making through the lens of a cynical society in which money and prestige have greater value than human life. Soderbergh has dealt with the business-like aspect of interpersonal relationships before, but thanks to a genre allowing more consistent (or more ruthless, if you prefer) manipulation of the characters, in Side Effects he succeeded in getting down to the marrow. 90% (20/12/2013)

SPOILER ALERT! – I don't really trust Steven Soderbergh in the long run, but a film with a reputation for a masterpiece, especially with such a packed cast, I was happy to roll with. And I got burned, even though it didn't seem like it at first. The deception (although at that moment unknown to the viewer) was intricate, thorough, and ultimately suspenseful, because it's not clear for a long time which piece of information is important. But once the topics started to overlap too much and the actions of pharmaceutical companies helped the main hero uncover the plot, I knew something was wrong. Moreover, as someone who works in the field of psychiatry, I can't escape the impression that Side Effects does a disservice to mentally ill people. And I'm also bothered by the final outcome of the Scott Z. Burns screenplay, in which women are unjustifiably punished. Combined with Catherine Zeta-Jones' paper-thin lines, clumsy paranoid twists, and a desperately lacking catharsis, I am officially giving up on Steven. (12/07/2016)

Soderbergh, Newman, Law, Zeta-Jones, Tatum... These are names that together on one poster are as appealing to a film fan as a postman is to a watchdog, and although it’s far from being a rule, this time we have to admit that the stars knew well where to shine. A masterfully filmed, well-acted and excellently written story that may be reminiscent of the golden era of the 90s, but thanks to the careful and creative direction manages to be original and interesting in every sense. Mara and Law stand out from the cast, their characters clearly have the most psychological dimension, but it's also nice to see that Catherine still has it in her and looks fantastic despite her advanced age. Proper craftsmanship that returns Soderbergh to the first league of directors. 80% (25/07/2013)

Side Effects is a very well made film that stands out especially for its sophisticated script and acting performances. As for the story, I didn't really know how it was all going to turn out until the end, and I kept asking myself questions - mainly, "Who's the biggest jerk on the set?". We're thrown an unspecified scene at the beginning, which reappears about a third of the way through the film, and from then on a very deep case study of a sick woman who is taken on by a renowned doctor, and it changes both of their lives (and more). Who is actually guilty! Jude Law impressed me the most with his role, but Rooney Mara and Catherine Zeta-Jones were also great and convincing. A film whose title is not necessarily related to antidepressants. (27/06/2013)

Soderbergh rocks. The brilliant genre change in the middle of the picture is just the type of hacking I approve of. The untraditional development of the plot and the characters that really work - awesome Law and Rooney Mara confirms his status as one of the best young actors in the branch. And then there’s Newman’s chillingly captivating music. A delicacy that shouldn’t be overlooked and that is better not to know too much about in advance. (22/04/2013)