![]() ![]() He even digs deep enough to interview her previous psychiatrist, Dr. Banks begins to peel back layers to the onion that is Emily and her apparent long history with depression, anxiety, and mental illness. In their sessions and encounters that follow, Dr. Jonathan Banks ( Contagion's Jude Law), who examined her in the hospital after the accident. More than just a cry for help, the state issues her case to psychiatrist Dr. In a foggy trance of sorts, Emily leaves work and drives her car head-on into a parking garage wall in an apparent suicide attempt. Both she and Martin thought being back together would be jubilant, but their sparks are awkward and Emily can't shake her depression from him being away so long. She's a fragile young NYC wife who's been stuck at home and a lifeless job while awaiting her husband Martin's (Channing Tatum, in his third consecutive spin with Soderbergh after Haywire and Magic Mike) release from a four-year prison sentence for the white collar crime of insider trading. The movie chillingly opens with what clearly appears to be a murder scene, illustrated with visual clues that you will need later, before introducing us to Emily Taylor, played by Rooney Mara, who you know as the Lisbeth Salander from David Fincher's take on The Girl with the Dragon Tattoo. For one thing, it is definitely the polar opposite of his last film, Magic Mike, but that's what makes Steven Soderbergh so good. It would be put on the "psychological drama" shelf at the video store. You may not be shivering now, but you might before the movie is over. He targets the implications of depression and the prescription drug industry. His trigger is much more subtle with Side Effects. About a year-and-a-half ago, Soderbergh scored a modest hit with the star-studded Contagion, preying on our country's hypochondriac fears of flus and viruses with a nice little pot-boiler of a movie. With Side Effects, the latest (and rumored final, more on that later) directorial effort from esteemed filmmaker Steven Soderbergh, the director evokes that magic emotion by finding tension and suspense in an unexpected place for the second time. When a story is done right and hits the right chord, a good filmmaker can make even ice cream look like the spawn of Satan. ![]() Look what Chucky did for dolls (well, maybe not that one so much). Look was Steven Spielberg's Jaws did for sharks and swimming at the beach. Look was Alfred Hitchcock's Psycho did for motels and shower. What can I say but "paranoia sells." Movies over the years have found glorious ways of making something benign or statistically safe appear menacing and scary. ![]()
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