Skip to main content

You're not feeling like you're in a poison fog?


Side Effects
(2013)

(SPOILERS) At first it appears that Steven Soderbergh’s final cinematic release (for the time being) may be taking the Traffic approach to the pharmaceutical industry. It wouldn’t be a surprise, as the director likes his issue-led films (which also include Erin Brokovich and Contagion). But Side Effects veers from such a path so preposterously that it leaves him with nothing to say on the subject. It ends up as an above average thriller, but completely forsakes discussing prescription dependency for easy twists and cheap thrills.


It’s near to the reverse of how he treated Contagion. There he had a wonderful opportunity to make a truly frightening pandemic horror but instead took such a restrained, clinical approach that it rarely hit home. The director’s always been a bit frosty, emotionally disengaged from his projects and characters, and sometimes this disposition is more appropriate than at others. Here, he shows his usual technical virtuosity in letting us in on the foggy haze of the medicated, suicidal Emily (Rooney Mara), and his detachment means we’re somewhat blindsided when Scott Z Burns’ script starts piling on the unlikeliest and most sensational of revelations.


Emily’s husband Martin (Channing Tatum) is released from prison and soon after she attempts suicide. Her newly appointed shrink Jonathan (Jude Law) prescribes a range of medication, with limited benefits, before her old psychiatrist Victoria (Catherine Zeta-Jones) suggests a new drug, Ablixa. At first this seems great; it perks up her sex drive, with just a slightly unwanted side effect of somnambulism against it. It’s in such a state that she kills Martin one night.


Killing off Tatum 30 minutes into the film makes for a highly effective Psycho moment; certainly, I didn’t see it coming. But I presumed this would go to emphasise the meat of the tale; prescription meds are bad, kids. Emily pleads insanity, and attention shifts to prescription-happy Jonathan and the gradual disintegration of his professional and personal life. He starts to look around for others to blame, and wouldn’t this be just the kind of self-denial we’d expect? Particularly as he has more than one theory; either Emily was faking her episodes or he’s a victim of a cover-up by the pharma company. Unsurprisingly, it doesn’t turn out to be the latter. As with Contagion, Soderbergh retreats from anything slightly radical once he has raised an issue (there it was Law’s anti-science holistic conspiracist), to the extent that one suspects the director of a lurking conservatism (small “c”). So not only do the thriller elements engulf any serious discussion of the medicated society, but also he arrives at a polar opposite position; the antagonist, who is not mentally ill, is forced onto drugs at the behest of her triumphant psychiatrist (the beleaguered hero). We’re led to the point where we cheer on Jonathan screwing with a healthy (as much as a murderer can be, anyway) person’s brain chemistry.


Soderbergh is less than scrupulous in his choices throughout, which at least keeps you on your toes. The subjective way he treats Emily’s state of mind during the opening sections is a big fat visual cheat (she’s faking it so she’s not in the “poisonous fog” she describes to Jonathan), but he can’t really be accused of a Stage Fright-esque hoodwinking. It’s just a bit sneaky. By the time we discover that Emily is having a lesbian affair with Victoria, and they hatched their grand plot together (which involved making Jonathan a dupe), he’s keeping things moving so adeptly that we barely have time to stop and think about how far-fetched the whole thing is (be it faking a sodium amatol interrogation, manipulating stock prices for drugs or relying on the duping of a random brain care specialist for the scheme to succeed). 


Which means that, while Side Effects is highly entertaining, the tangent it veers off on is a disappointment given where it started. The sheer blaséness of attitudes to medication during the opening sections promises so much more. Jonathan is dosing his clients at the drop of a hat (he even tells his wife, “It doesn’t make you anything your not, it just makes it easier to be who you are” as he plies her with pills). There’s a great scene of Jonathan and his partners being wined and dined by a pharma rep looking for sponsors for a new product. And Jonathan is not a bad guy; he shows due concern for his patients when he is with them. The problem is that he is there only superficially, and he doesn’t attend to the fine print. As such he has no qualms over the business of dishing out magic cure-alls, favouring wall-to-wall engagements over quality client service. The falling apart of his world initially seems like a judgement on his lack of oversight, but turns round to a point where he is without guilt and emerges victorious. It doesn’t feel quite right.


I’ve said this a couple of times of his recent work, but Law’s gone from an actor I really didn’t care for to one who is consistently turning in strong performances in interesting movies. At first it looks like he’s a bit player here, with Mara as the lead, so it’s another of the film’s clever shifts when he becomes the focus. Mara is commanding in an unsympathetic role and she and Tatum make for a very natural couple (too good to be true); it’s not really her fault that Emily’s motivation for killing Tatum is lacking (her loss of lifestyle really cheesed her off!) Zeta-Jones bears the signs of visiting Nicole Kidman’s plastic surgeon, which lends her an air of supernatural menace. Like Mara, her characterisation suffers in the last third of the film but she does get to wallop Law with a handbag.


One could imagine Brian De Palma being right at home with this kind of material, and he’d certainly have played up its more trashy aspects. Soderbergh lends Side Effects an air of respectability it might not quite deserve, or at least warrant. For all that it shirks saying anything of value this is manages to satisfy as wriggling, writhing thriller that keeps you hooked. It’s just not great brain fodder.

***1/2

Comments

Popular posts from this blog

So you made contact with the French operative?

Atomic Blonde (2017)
(SPOILERS) Well, I can certainly see why Focus Features opted to change the title from The Coldest City (the name of the graphic novel from which this is adapted). The Coldest City evokes a nourish, dour, subdued tone, a movie of slow-burn intrigue in the vein of John Le Carré. Atomic Blonde, to paraphrase its introductory text, is not that movie. As such, there’s something of a mismatch here, of the kind of Cold War tale it has its roots in and the furious, pop-soaked action spectacle director David Leitch is intent on turning it into. In the main, his choices succeed, but the result isn’t quite the clean getaway of his earlier (co-directed) John Wick.

Poor Easy Breezy.

Once Upon a Time… in Hollywood (2019)
(SPOILERS) My initial reaction to Once Upon a Time… in Hollywood was mild disbelief that Tarantino managed to hoodwink studios into coming begging to make it, so wilfully perverse is it in disregarding any standard expectations of narrative or plotting. Then I remembered that studios, or studios that aren’t Disney, are desperate for product, and more especially, product that might guarantee them a hit. Quentin’s latest appears to be that, but whether it’s a sufficient one to justify the expense of his absurd vanity project remains to be seen.

I take Quaaludes 10-15 times a day for my "back pain", Adderall to stay focused, Xanax to take the edge off, part to mellow me out, cocaine to wake me back up again, and morphine... Well, because it's awesome.

The Wolf of Wall Street (2013)
Along with Pain & Gain and The Great Gatsby, The Wolf of Wall Street might be viewed as the completion of a loose 2013 trilogy on the subject of success and excess; the American Dream gone awry. It’s the superior picture to its fellows, by turns enthralling, absurd, outrageous and hilarious. This is the fieriest, most deliriously vibrant picture from the director since the millennium turned. Nevertheless, stood in the company of Goodfellas, the Martin Scorsese film from which The Wolf of Wall Street consciously takes many of its cues, it is found wanting.

I was vaguely familiar with the title, not because I knew much about Jordan Belfort but because the script had been in development for such a long time (Ridley Scott was attached at one time). So part of the pleasure of the film is discovering how widely the story diverges from the Wall Street template. “The Wolf of Wall Street” suggests one who towers over the city like a behemoth, rather than a guy …

I just hope my death makes more cents than my life.

Joker (2019)
(SPOILERS) So the murder sprees didn’t happen, and a thousand puff pieces desperate to fan the flames of such events and then told-ya-so have fallen flat on their faces. The biggest takeaway from Joker is not that the movie is an event, when once that seemed plausible but not a given, but that any mainstream press perspective on the picture appears unable to divorce its quality from its alleged or actual politics. Joker may be zeitgeisty, but isn’t another Taxi Driver in terms of cultural import, in the sense that Taxi Driver didn’t have a Taxi Driver in mind when Paul Schrader wrote it. It is, if you like, faux-incendiary, and can only ever play out on that level. It might be more accurately described as a grubbier, grimier (but still polished and glossy) The Talented Ripley, the tale of developing psychopathy, only tailored for a cinemagoing audience with few options left outside of comic book fare.

She writes Twilight fan fiction.

Vampire Academy (2014)
My willingness to give writer Daniel Waters some slack on the grounds of early glories sometimes pays off (Sex and Death 101) and sometimes, as with this messy and indistinct Young Adult adaptation, it doesn’t. If Vampire Academy plods along as a less than innovative smart-mouthed Buffy rip-off that might be because, if you added vampires to Heathers, you would probably get something not so far from the world of Joss Whedon. Unfortunately inspiration is a low ebb throughout, not helped any by tepid direction from Daniel’s sometimes-reliable brother Mark and a couple of hopelessly plankish leads who do their best to dampen down any wit that occasionally attempts to surface.

I can only presume there’s a never-ending pile of Young Adult fiction poised for big screen failure, all of it comprising multi-novel storylines just begging for a moment in the Sun. Every time an adaptation crashes and burns (and the odds are that they will) another one rises, hydra-like, hoping…

Dude. You’re my hero and shit.

El Camino: A Breaking Bad Movie (2019)
(SPOILERS) I was going to say I’d really like to see what Vince Gilligan has up his sleeve besidesBreaking Bad spinoffs. But then I saw that he had a short-lived series on CBS a few years back (Battle Creek). I guess things Breaking Bad-related ensure an easy greenlight, particularly from Netflix, for whom the original show was bread and butter in its take up as a streaming platform. There’s something slightly dispiriting about El Camino: A Breaking Bad Movie, though. Not that Gilligan felt the need to return to Jesse Pinkman – although the legitimacy of that motive is debatable – but the desire to re-enter and re-inhabit the period of the show itself, as if he’s unable to move on from a near-universally feted achievement and has to continually exhume it and pick it apart.

You ever heard the saying, “Don’t rob the bank across from the diner that has the best donuts in three counties”?

2 Guns (2013)
(SPOILERS) Denzel Washington is such a reliable performer, that it can get a bit boring. You end up knowing every gesture or inflection in advance, whether he’s playing a good guy or a bad guy. And his films are generally at least half decent, so you end up seeing them. Even in Flight (or perhaps especially in Flight; just watch him chugging down that vodka) where he’s giving it his Oscar-nominatable best, he seems too familiar. I think it may be because he’s an actor who is more effective the less he does. In 2 Guns he’s not doing less, but sometimes it seems like it. That’s because the last person I’d ever expect blows him off the screen; Mark Wahlberg.

Who would want to be stuck in a dream for ten years?

Top 10 Films 2010-19
Now, you may glance down the following and blanche at its apparent Yankophile and populist tendencies. I wouldn’t seek to claim, however, that my tastes are particularly prone to treading on the coat tails of the highbrow. And there’s always the cahiers du cinema list if you want an appreciation of that ilk. As such, near misses for the decade, a decade that didn’t feature all that many features I’d rank as unqualified classics, included Spider-Man: Into the Spider-Verse, Tron: Legacy, The Tree of Life, The Guard and Edge of Tomorrow.

Just make love to that wall, pervert!

Seinfeld 2.10: The Statue
The Premise
Jerry employs a cleaner, the boyfriend of an author whose book Elaine is editing. He leaves the apartment spotless, but Jerry is convinced he has made off with a statue.

Don’t make me… hungry. You wouldn’t like me when I’m… hungry.

The Incredible Hulk (2008)
(SPOILERS) It’s fortunate the bookends of Marvel’s Phase One are so sturdy, as the intervening four movies simply aren’t that special. Mediocre might be too strong a word (although at least one qualifies for that status), but they amountto a series of at-best-serviceable vehicles for characters rendered on screen with varying degrees of nervousness and second guessing. They also underline that, through the choices of directors, no one was bigger than the franchise, and no one had more authority than supremo Kevin Feige. Which meant there was integrity of overall vision, but sometimes a paucity of it in cinematic terms. The Incredible Hulk arrived off the back of what many considered a creative failure and commercial disappointment from Ang Lee five years earlier yet managed on just about every level to prove itself Hulk’s inferior. A movie characterised by playing it safe, it’s now very much the unloved orphan of the MCU, with a lead actor recast and a main c…