A Film Review by Tennessee Jed
Since his arrival in 1989 with
Sex, Lies, and Videotape, celebrated director Steven Soderbergh has been nothing if not prolific in his output. Critics argue with some justification that his work is best described as uneven or inconsistent. Though hardly an expert on his career, as a fan of independent, low budget films, I owe him at least a debt of appreciation for his notable contributions in that regard. To be sure, this director has made many complete stinkers, but he’s also made several films I have truly enjoyed.
Side Effects, fortunately, falls into that latter category.
Soderbergh films seem to fall into several loosely defined buckets, often spilling over into more than just one. It turns out this film is a suspense thriller in the manner of the great Alfred Hitchcock. Although admittedly a fan of that genre, I think one reason it seems to work so well is its ability to hide that fact by sending up false signals that it would be primarily an “agenda” film exposing the evils of “Big Pharma.” The fact this director has made that type of film helps in the set-up. Let’s consider both its highs and lows.
** spoiler alert **
Plot Synopsis - Emily Taylor (Rooney Mara) visits her husband Martin (Channing Tatum) who is finishing up a four year prison sentence for insider trading. Although outwardly supportive, she apparently had lost more than her incredibly exalted financial status; she seems to be suffering from significant depression.
After Martin’s release Emily purposely crashes her car into a parking garage wall. In the ER, she’s interviewed by psychiatrist Dr. Jonathan Banks (Jude Law). He reluctantly agrees to discharge her if she comes back for further treatment, and he prescribes one of the SSRI anti-depressant drugs. Emily tells him she was previously treated for depression by Dr.Victoria Siebert (Catherine Zeta-Jones). Banks consults Siebert who suggests he consider one of the brand new drugs, the fictional Ablixa. When Emily suffers a melt down while attending a business function with Martin, Banks agrees to prescribe Ablixa. It appears to significantly help, but carries its own unique set of side effects.
Martin awakes to see Emily setting the table for three in the middle of the night while the stereo blasts music. It seems one of Ablixa’s side effects is sleepwalking. They both meet with Dr. Banks, but Emily refuses to go off Ablixa, and he agrees to let her continue with the drug, using other treatments for the sleepwalking. One night, as Martin returns to the apartment for dinner, he finds the table again set for three. Confronting Emily, she turns and stabs him to death. Dr. Banks is recruited as an expert consultant by both prosecution and defense. A plea bargain is reached in which Emily is not guilty of murder, but must be institutionalized. Future release is subject to a doctor’s sign-off.
Dr. Banks finds that he has received tremendously unfavorable publicity as a result of the trial. As the A.D.A. points out, Emily is either a murderer or a victim of her medical treatment, and either way, someone has to pay. He begins to lose patients, is forced to resign from a lucrative consulting gig, and ultimately is forced out by his partners. Even Banks’ wife begins to doubt him. As his career and marriage rapidly disintegrate, he finds evidence that perhaps a murder was committed after all. Banks becomes obsessed with proving the wrong person has been “made to pay.” When he presents his concerns to the A.D.A., he is reminded double jeopardy applies, and he should just walk away. To reveal exactly what happens, who was involved, and how it resolves would seem a dis-service to potential viewers.
Why Does The Film Work So Well?
First and foremost, it is an excellent tight script. This film is only an hour and forty-five minutes, and the writers keep the story moving despite a lack of real action. Every scene is lean and purposeful with key information being disseminated just by visuals and mood creation. More importantly, it is a suspense movie that manages to disguise where it is heading for a long, long time. One reviewer even labeled that disguise as the “twist” itself. The story actually touches on some interesting issues regarding “big pharma” and the reliance of modern medicine in this country to depend so heavily on prescription drugs. That is not the true focus of the film, however, and that issue functions, in a way, almost as a kind of MacGuffin. Secondly, the soundtrack by Thomas Newman is extremely compelling and well matched to the scenes in which it is used.
The acting is uniformly excellent. To be sure Law, Mara, and Zeta-Jones do the heavy lifting, and all do it well. Mara has the biggest challenge being alternately sympathetic and a bit creepy. But I couldn’t help noticing just how good some of the actors were in minor roles. Most notable to me were Ann Dowd (Compliance) as Martin’s mother, Polly Draper (Thirtysomething) as Emily’s boss, Michael Nathanson as the A.D.A., and veteran character actor Peter Friedman as the senior partner in Banks’ practice.
Are There Any Negatives Or Is It Really All That?
For this plot to work, the viewer is asked to stretch the bounds of credibility, particularly regarding certain key relationships, and motivations of characters to act in a particular way. Specifically, questions of how Emily develops her relationships with Martin and Dr. Siebert may leave viewers scratching their heads. But, if one looks at most films of this genre in retrospect, almost all present certain facts that just don’t seem to quite make sense realistically. Even if we look at a classic such as North By Northwest, we can easily question the plausibility of some of the events required by that plot. And, what Side Effects does quite well is present its own inconsistencies in a manner that still permits you to enjoy the ride.
So Is This A Must See?
Well, yes, at least in my book. In an era of Man of Steel and Promised Land, damn right it’s worth it to see this one now, and not wait until it comes to MGM Classics. This is particularly true if you like the film noir suspense genre.
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Likeability is as important to actors as lickability is to ice cream.
