Review: Side Effects

Year: 2013
Director: Steven Soderbergh
Screenplay: Scott Z Burns
Starring: Jude Law, Rooney Mara, Channing Tatum, Catherine Zeta Jones

Synopsis is here

If the rumours are true (and the interviews point towards yes), it seems that Side Effects will be Steven Soderbergh's final theatrical feature. Threatened once before but now looking much more definite, the announcement is an intriguing one. At age 50; the chameleon-like director still looked like he had a lot more in him. This said, the film maker has stated he is tired of the format and would rather spend his time painting.

This is not necessarily a bad thing. A television interview on CBS with Quentin Tarantino had the motor mouth director mention his worry of becoming "out of touch" as he got older. Some could say that he may have a point. There's nothing wrong with going out on a high, and while others may draw attention to some elder statesmen who have placed some decent turns in their career "twilights". I doubt many would pick those later films over the likes of Taxi Driver, Manhattan, One Flew over the Cukoo's Nest, M.A.S.H and the list goes on.

So Soderbergh has decided to end the career here. Not with a bombastic, mega multi dollar showcase (imagine Ocean's 14), but with a tightly controlled psycho thriller which highlights not only the assured direction of the director, but the themes that have followed him throughout an industrious career. I'm pretty sure I'm not the only one who noticed that a few of the films revelations rely on sex, lies and videotape.

Sharply placed against the backdrop of big pharmacy and insider trading, Sodenbergh carefully blends topical issues to create near plausible horrors. Before the outrageous mechanics of the final third take hold, we are exposed a nightmare of dubious after effects, presumed wrong doings and shady double takes. Framed in a dreamy soft focused haze, nearly every shot in Side Effects (Sodenbergh lenses' the film under the name Peter Andrews) layers a tinge of self doubt within a viewer. You notice that much like a drug addled mind, the world around these characters are blurred and obscured. Sometimes only the character is in focus. Yet even so, their words bring no clarity. 

Soderbergh's tricky thriller does much to prime us correctly so even the films more lurid moments later on have a feeling of plausibility. This has much to do with the films two leads as well as its smart direction and scripting. Jude Law hasn't been this watchable for years, getting the subtle ruthlessness of his character down to a tee. Yes, he comes to the aid of an ill woman, but like a Coen's movie, notice just how quickly he's willing to snap at the dangling carrot. Rooney Mara is even better. Showing her display in The Girl with the Dragon Tattoo wasn't a fluke, she acing every scene with the ability to managing to be scared and scare at the same time.

Whether or not Soderbergh leaves the cinematic world, he has undoubtedly made a sizable dent in it. Side Effects shows the work of a craftsman: assured, accomplished and solidly built. He could be tired of the format; he could hold the same fears as Quentin. Either way his swan song makes sure he goes out flying. 

Myers the bastard

He’s always been for left field choices but this is something else. Quentin Tarrintino has decided on casting Mike Myers for a small bit part in his new film Inglorious Bastards. Myers will play British Gen. Ed Fenech, a military mastermind who takes part in hatching a plot to wipe out Nazi leaders.

I’m willing to defend the guy for most of his choices and films but to me it seems that now the maverick director is trying to hard to “outcool” himself. At the moment I see the director dipping his foot into the smug pool, getting ready to jump in. I mean did you see the second half of Death proof? Zoe Bell anyone?

Usually QT is on point with his choices; people like Robert Forster have worked effectively on his movies for many reasons. But looking at the back catalogue of “Austin Powers” we see one (well received) straight role of Steve Rubell in 54 and one good dramatic role doesn’t make you a great thespian does it Marlon Waynes? We must also add the the box office poison that courses through Myers’ vains and films, unless the word Shrek is placed in front of them and even the draw from that is starting to wane.

But I can’t say I’m not looking forward to QT finally getting off his arse and creating what could be a bit of a stunner. I’m sure it will at least wash the egotistical taste of deathproof out of my mouth.