A young woman's world unravels when a drug prescribed by her psychiatrist has unexpected side effects.
The success of Side Effects largely depends on whether you buy into its narrative U-Turn. And if you don’t, it’ll stop the film dead.
You might be disappointed that when the full story reveals itself it’s more lurid than anticipated. You may even experience feelings of disorientation, uncertainty and a vague sensation of having overdosed on twists: but those are the side effects of a noir as unpredictable and playful as Side Effects.
We may lose Soderbergh to painting, theatre and HBO-fuelled TV, and that’s a crying shame. If that’s the case, Side Effects is a great note on which to go out.
That it reveals itself in the end to be just an expertly executed genre film is ultimately why Soderbergh’s imminent absence from the release schedules is going to be something to mourn: such casual and prolific brilliance is in scarce supply.
Let's just say it's pleasingly unpredictable. Soderbergh has slipped us a Mickey Finn and worked up an atmosphere of deception that's very persuasive. His clever camera movements (he's also the cinematographer, pseudonymously credited as "Peter Andrews") and shrewd edits betoken a director right on top of his game.
It’s a fun, taut and cleverly-plotted guessing game that affords juicy roles for the cast.
What a gripping and disturbing thriller this is. Surely it can't be Soderbergh's last movie. Say it ain't so.
Steven Soderbergh has claimed that his latest film will also be his last: if so, what a high to crest go out on.
On this form, a Soderbergh break from filmmaking is just what the doctor ordered.
Twisty thriller.
Luckily, Soderbergh's direction remains understated, the film retains the hushed but charged atmosphere of an expensive psychiatrist's office, and you can enjoy the rising sense of panic which the drama induces, safe in the knowledge that the director is in control.
Side Effects is a sleek, masterfully executed but entirely unflashy entertainment. It's also one of those films that's practically impossible to review because you can't reveal too much of its sinuously devious plot.
It isn't a film of any great depth, and the narrative deceptions inevitably involve a degree of contrivance. But Soderbergh handles his actors with great deftness and gives the film an air of intelligence and social authority.
The film itself isn’t groundbreaking or revolutionary but it exceeds expectation and after a tense hundred minutes, offers a satisfying ending.
General release. Check local listings for show times.
RSS feed of Cinema reviews