Side Effects by Steven Soderbergh

Side Effects by Steven Soderbergh

Side Effects is the new thriller from Steven Soderbergh about a young woman’s (played by Ronney Mara) world being turned around when a drug prescribed by her psychiatrist (played by Jude Law) has unexpected side effects.

Similar to Lian Johnson’s Looper last year, Side Effects is a film that continually mutates its genome and plays its surprises based off the audience’s familiarized expectations of genre convention. I did not know anything about the film going in. In its first act, I thought it was a serious issue-tainment film about the modern practice of prescription medicine. To the end of the first third, it shifted into a new place. By the mid-point, I just stopped trying to guess where it was going to go and decided to just enjoy the ride. I was on the edge of my seat and did not have any grasp of what was to come. Where it ends up is insane and it will divide audiences but I much rather credit the ride more than the final destination.

Rooney Mara plays the pain of depression in a very realistic fashion. At times, it felt like watching a documentary. That’s how real she played it. This performance could have easily fit into a serious drama about having depression if they chose to continue with the first third of the issue-tainment portion.

Jude Law has the heaviest task to do because he balances a lot of the film as it goes through its many tonal shifts. As the psychiatrist character, he is the most reliable character the audience can trust and there is a lot less wiggle room for his character to suddenly change along with the genre shifting or plot twists. He manages them well and does a good job anchoring the film as it gets crazier in the third act.

I haven’t seen Chicago but Catherine Zeta-Jones’ acting in the past has always been distracting to me because she’s constantly preening for the camera. She is too aware of the camera positions and constantly adjusts how much to tilt her head, dilate her pupils or purse her lips for each shot (she’s doing up in the poster! See above). It’s like she’s constantly posing for still-based fashion photography slideshow instead of performing for a time-based forward-motion medium. It doesn’t help the story move forward if you’re constantly asking the audience to ogle over you. Yes, you are pretty, I get it. Kudos to you! I know I am ranting now, but that’s how frustrated it made me.

That aside, she is also playing up a campiness that seems tonally incongruent to the other performances in the film. It’s in her tongue-in-cheek delivery of the dialogue. She’s the odd one out of the entire cast and threatens the overall quality of the movie. Fortunately her part is a supporting one and she manages through the film on wafer thin ice.

Steven Soderbergh says this is his last film. Not that I really ever believe it when any director/celebrity/athlete say they’re retiring anyways. Side Effects is a decent way to go out but I certainly hope this isn’t his last film.

Related Reviews
Behind the Candelabara by Steven Soderbergh
Haywire by Steven Soderbergh

Colombiana by Olivier Megaton

Colombiana by Olivier Megaton

Colombiana by Olivier Megaton

Colombiana is another Luc Besson-produced action romp starring Zoe Saldana, directed by Olivier Megaton (the best director’s name ever).

The story: A young girl named Cataleya Restrepo’s (played by Zoe Saldana) parents are killed by mobsters in Colombia. She escapes to the United States and trains herself into an assassin with the help of her uncle Emilio (played by Cliff Curtis). Suffice to say, she exacts revenge on the Colombian mobsters.

There are ridiculous moments in the story that feign B-movie sensibilities but never goes extreme enough for it to register as funny to the audience. It throws the film off tonally. There’s a scene where a young Cataleya (played very nicely by young child actress Amandla Stenberg) pleads for her uncle Emilio to train her into an assassin. He agrees and registers her into an elementary school. She questions his actions, thinking he broken his promise. Uncle Emilio takes out a gun and unloads it into a car on the street until it crashes on the sidewalk. He turns to the young Cataleya and explains that to be an assassin, one must knows how the world works and the only way to learn that is in school. As he is saying this, the police are pulling into the street and interviewing bystanders about the accident. Cataleya and Uncle Emilio slowly walk away from the scene of the crime. Was I supposed to laugh at that? Or was that I supposed to be moved by Uncle Emilio’s mentorship on how to be an assassin? Shouldn’t assassins be discreet?

The editing is insanely frenetic, you end up getting a sum-up of the entire fight than experiencing the entire beats of an engagement. The action sequence that I really enjoyed was the one where Zoe Saldana makes a kill in a police station. She uses her slim frame to her advantage and that was a nice attempt to explain why an assassin might be that skinny. Even though that would be the only advantage when you stop to think about it.

Cataleya is a very determined but ultimately a very unlikable character. She is trying to avenge the death of her parents, but ends up doing something immoral in the third act that makes her come off more like a sociopath than a hero. The character lacked a moral code that was necessary for the audience to really engage with her. It was like if Batman threatened to kill a criminal’s parents in order to squeeze information out of him. What the movie supplants for character likability is that the film expects you to be  totally physically infatuated with Zoe Saldana. The film really hangs on that, which creates a very strong pornographic sensibility running beneath this film. There are many instances where Zoe Saldana is not wearing a brassiere and is “nipping” through her clothes and the cinematography is directed to gazing at her.

The love story between Zoe Saldana and Michael Vartan was unconvincing. She visits him in his artist studio apartment and they have sex. That’s the entire dynamic of their relationship. There’s a scene where he asks her to tell him something about herself and the film forces a deeper emotional connection that I did not buy. He tells a friend about her later in a cafe and can only describe her as “she has a great body, pretty face and I can’t stop thinking about her.” The film does not provide any humanity for Cataleya other than being very attractive and wanting revenge. The villains are not even developed either. Say what you will about Rambo 4, but the opening sequence in Burma where the soldiers bet on their prisoners walking across land mines made me hate them instantly. And that worked! This did not work, because I do not know the villains at all.

I am not the kind of guy that thinks a woman with a gun shooting people is equal to a strong woman. Having previously played  strong and much better written female characters (Uhura in Star Trek), Zoe Saldana really deserves something better. I liked the previous Luc Besson-produced action films such as Danny the Dog/Unleashed, Taken and yes, even From Paris with Love. They have done better than this in the past, so I can only say Colombiana was a bit of a miss.

On another note, I’m seriously considering legally changing my name to “Megaton”.