If there’s one thing to say about Steven Soderbergh, it’s
that the man never had any interest in making the same film twice. Sure, he
made two sequels to Ocean’s Eleven
(which are wildly different from one another, to better or worse degrees, I’ll
let you decide), split his epic, Che,
into two parts, and conveyed his stories in similar fashions, but for all
intents and purposes, I’ve never seen Soderbergh repeat himself.
If anything, it is his perfect style and flawless craft that
links his films together. You can always tell, within minutes, that you’re
watching a Soderbergh film, but, again, I’d argue they all differ in story and
plot.
I derive as much pleasure in talking about the plot of a
Soderbergh movie as I do from staring at a beige-colored wall. That’s not to
say I don’t dig them, but the man is a master of technique, of which much
attention deserves to be given. But, to briefly divulge: Emily Taylor (Rooney
Mara) is depressed. With her husband, Martin (Channing Tatum), fresh out of
jail after serving a four-year bit for insider trading, it doesn’t take long
for Emily’s latent depression to quickly reemerge. Through skillful dialogue, as
penned by the crafty Scott Z. Burns, we come to understand that Emily’s
emotional despair has followed her since she was a child. And when she
purposefully drives her car head on into a concrete wall, the need for
intervention is absolute.
After the accident, psychiatrist Dr. Jonathan Banks (Jude
Law) is assigned to Emily’s case. He sees her regularly and soon prescribes a
new drug, Ablixa to help combat her torment. The drug works, for a spell, until
it’s the cause of something shocking, the likes of which I won’t reveal. Know
that there are twists and there are turns, all of which are far better
discovered for yourself.
Now, technically, Side
Effects is precisely what fans of Soderbergh can expect from him. Directed,
photographed, and edited by Soderbergh himself, I’m hard pressed to think of a
current cinematic craftsman who establishes a shot, and knows exactly how long to keep it, better than
Soderbergh. In addition, the film’s color palette is as distinct as most of
Soderbergh’s films. Side Effects is
often drowned in muddled tones (to reflect Emily’s mood), but seamlessly
overexposed at moments begging to be studied.
Another aspect of Soderbergh’s work I’ve discussed on this
blog ad nauseum is his constant need to capture naturalism from his actors. (He
does this, it should be noted, by directing his actors very little, opting for
them to trust their instincts as opposed to verbally dissecting the character’s
motivations.) And, like all of his movies, Side
Effects assembles a crop of talent who execute at the top of their
respective games.
I go back and forth with Jude Law. For my money, he isn’t a
consistently good actor, but when put in the right hands, his desperation can
be brought to life in the best possible way. His Dr. Banks deserves to join the
ranks with the most tirelessly frantic characters he’s portrayed yet. Of which
there are many.
Thanks much in part to Soderbergh’s style, Channing Tatum’s
career has broached a newfound respect I never saw coming. Dug him in Haywire, loved him in Magic Mike, and I completely bought
Martin’s urge to get back into the In Crowd in Side Effects. It was also rather refreshing to hear Tatum throw out
his standard cadence for Martin. There’s no starting a sentence with “yo,”
ending it with “man,” and leaving the g’s off his gerunds. (Now, I wonder, what
will become of Tatum’s career post-Soderbergh retirement…)
Catherine Zeta-Jones (as a former doctor of Emily’s) plays
cold and calculating in ways that make her performance the best thing she’s
done in years. As Law’s strong but puzzled wife, Vinessa Shaw once again proves
that she is an actress whose talent deserves to be discussed far more than it is.
But the real star here is Rooney Mara, an actress that’s, well, my kind of
actress.
As a viewer, I’m much more drawn to what a performer can do
with a gentle stare than four pages of dialogue. That isn’t to say I don’t
value grand monologues, but Mara gives Emily a pair of cold, dead eyes that are
impossible to turn away from. Now, there are a handful of times in Side Effects in which Emily casts a big,
bright, beaming smile. When I saw this, I was stunned, and oddly moved. And
then I thought about it. In her two prior standout roles (in David Fincher’s films The Social Network and The Girl With the Dragon Tattoo), Mara
played women who, among other things, don’t smile. At all. So when I saw Emily
shine her pearly whites so innocently, I was reminded yet again (but for
completely different reasons) that this woman has got it. She deserves to be
one of the biggest stars in the game.
Much has been made about Steven Soderbergh’s impending
retirement. After the many battles he incurred before, during, and after the
production of Che, Soderbergh began publicly
declaring that enough was enough. He
said he’d be finished directing by the middle of 2013, and with his Liberace
biopic, Behind the Candelabra, set to
air on HBO this summer, it appears as though he’s sticking to his word. He has
no projects in development, and no plans to do anything related to directing
feature films. My obvious adulation for his work should make it clear that his
retirement saddens me a great deal. Thankfully, he’s more or less made a film a
year (sometimes two) for his more than 20-year career.
I’ll miss seeing his new work, but if Side Effects is any indication, there’s always more to gain for rewatching a Soderbergh film. A-
Excellent review. In fact, I've been waiting to hear what you had to say about the film.
ReplyDeleteFor me, I would put this in the middle yet it is still a strong film. I'm eager to see Behind the Candlebra as I hope Soderbergh can pull off one more great piece of cinema, although it will be on TV.
Wow, thanks man. Even though I gave it an A-, this would probably rank in the middle of Soderbergh's work for me as well. Which means I really love an insane amount of his films.
DeleteI'm also looking forward to Candlebra for the same reason, and am definitely a tad weary that it's on TV. But hey, I'll take what I can get.
so happy to hear about a good zeta jones performance. and i've always liked jude law.
ReplyDeleteLooking back, I don't think I've really liked a performance of hers since Soderbergh's Ocean's Twelve. But regardless, she is perfect in this flick. As is Law.
DeleteGreat review! I'm iffy on Jude Law as well. I thought he really shined in Anna Karenina, but not much else. I look forward to seeing this.
ReplyDeleteThanks! I did enjoy Law's work in Anna Karenina, but yeah, he's always been hit or miss for me. Hope you like Side Effects, it's a trippy one.
DeleteFilms like these are the reason I go to the movies. I always want the filmmakers to turn my head and veer off the well-worn path, and just keep me on-edge the whole damn time. Nice review Alex.
ReplyDeleteHell yeah Dan, great comment! So glad you enjoy this flick so much, I really enjoy it as well.
DeleteGlad you liked it as well. The performances were terrific in this. It's a shame it was dumped in February, but at least we got to see it sooner rather than later.
ReplyDeleteYeah it's kind of the same thing people said about Haywire: "Why is Soderbergh releasing a movie so early in the year?!"
DeleteI think it's for two reasons: Side Effects isn't a game changer, you know? Just a fun little thriller. And Soderbergh has said many times that he doesn't care when his movies are released. If people are going to see it, they're going to see it. Kinda makes sense. Kinda.
Beautifully written review! I'm sorry to see Soderbergh to go I hope he will return. I'm definitely going to see this one for Mara.
ReplyDeleteThanks! I think you'll love Rooney here. She's just perfect.
DeleteI'm very sorry to see Soderbergh go as well. Damn shame.
Fantastic review! Weird that they didn't release this during Oscar season, it seems like an contender. I can't wait to see this!
ReplyDeleteThanks! Hmm, I'm not sure it would be a serious contender for any awards. They could've pushed hard for Best Actress and maybe Screenplay, but those would be stretches. It's just a nifty little thriller, if you know what I mean.
DeleteThanks for reading/commenting!
Fantastic review! Your writing talent really shines here. Glad to be seeing good reviews for this one as it's playing at our little downtown theater -- I hope to watch it soon.
ReplyDeleteAw thanks Steph! I hope you get to see it soon as well, I think you'll dig its vibe.
DeleteI actually didn't find the film as satisfying as you did and the same can be said about Soderbergh's repertoire, with the exception of Traffic.
ReplyDeleteI find most of his film to be lacking in the emotional department. Perhaps it comes about from the precision and stylized manner in which he directs and crafts his films, not allowing for the kind of happy accidents and unfinished quality that may give his work a bit more punch and less predictability.
Having said that, there is a lot of quality packed within Side Effects, starting with Rooney Mara who is, once again, sensational. There's no question she was born to act.
The story in itself is pretty entertaining and with enough twist and turns to keep it fresh, but in common Soderbergh fashion, there were just too many clues inserted to feel as if I was either surprised or completely intrigued by the outcome.
Great review nonetheless! We'll just have to agree to disagree.
Really interesting take on Soderbergh's work. You're right, it's probably most constructive to agree to disagree, but I am glad that 1). you like Traffic, and 2.) you were able to appreciate aspects of Side Effects, like Mara's flawless work in it.
DeleteThanks so much for stopping by and voicing your opinion. It is always more than welcome here, my friend.
Just saw this. I dug it, but I am curious why I am not more excited about it.
ReplyDeleteLaw and Mara were great and like Contagion I love how relevant this film is. Pharmaceutical companies and their arms - practitioners who are in league with these companies and may be swayed to prescribe drugs for solely their own monetary gain - and the shares that accompany them fuel epic greed. I like that this film touched on that, but also a domestic situation that is not what it seems.
As I am writing this, I am actually appreciating it even more haha.
Soderbergh does that. Sad to see him go.
"As I am writing this, I am actually appreciating it even more. Soderbergh does that."
DeleteYES! Exactly. For me, all of his films creep in and get better. They ferment in my mind and grow and grow. Glad you dug this one, I am damn sad to see him go as well.
I still need to see this film, but this is funny: "Now, I wonder, what will become of Tatum’s career post-Soderbergh retirement...".
ReplyDeleteLOVE this movie.
Delete