Side Effects

Steven Soderbergh delivers an excellent commentary on contemporary society, on how we are unable to cope with crises and how we collapse, but he wraps it all up in such a package that it's not so easy to overlook the film as a social critique. The film is thrilling, it holds your attention, it entertains, but at the same time, you will be able to reflect on it. No other Soderbergh film has affected me as much as this one, and for that reason, I think it is his best so far. He had his camera at hand, but also a great screenplay, which wasn't always the case in his films, and then there were great actors, which is usually true for most of his films. People want to work with Soderbergh and it's for the best, because he allows them to shine. This time, the film stands out as a whole and it functions excellently as a whole. 90% well-deserved. More: http://www.filmovy-denik.cz/2013/04/vedlejsi-ucinky-2013-90.html (04/29/2013)

I expected a great show, and I got a great show. Soderbergh is already an experienced pro in his field and knows what can elicit a strong response from the audience. Side Effects starts off quite innocently, with the first few moments being rather dull, but after Tatum’s death, the wheels start spinning and don’t stop—the mechanism is already in motion. Rooney Mara delivered a fantastic performance. At first, she appears to be a fragile and broken woman, but as the story gradually unfolds, you realize that’s not quite the truth. Jude Law plays a psychiatrist, which interestingly suited him. Zeta-Jones didn’t have much screen time, but every moment she appeared, I knew something wasn’t right. Tatum felt more like a fifth wheel, probably because of his early death. The film’s ending with a breathtaking twist, where the supposed victim turns out to be the murderer who teamed up with the psychiatrist to take out poor Tatum’s character, nearly floored me. Soderbergh created a great, chilling thriller where you don’t know until the very end who the culprit is and who is just a mere victim. Still, I can’t give it five stars because some scenes felt unnecessary to me. 84%. (07/10/2017)

Soderbergh rocks. The brilliant genre change in the middle of the picture is just the type of hacking I approve of. The untraditional development of the plot and the characters that really work - awesome Law and Rooney Mara confirms his status as one of the best young actors in the branch. And then there’s Newman’s chillingly captivating music. A delicacy that shouldn’t be overlooked and that is better not to know too much about in advance. (04/22/2013)

Soderbergh, Newman, Law, Zeta-Jones, Tatum... These are names that together on one poster are as appealing to a film fan as a postman is to a watchdog, and although it’s far from being a rule, this time we have to admit that the stars knew well where to shine. A masterfully filmed, well-acted and excellently written story that may be reminiscent of the golden era of the 90s, but thanks to the careful and creative direction manages to be original and interesting in every sense. Mara and Law stand out from the cast, their characters clearly have the most psychological dimension, but it's also nice to see that Catherine still has it in her and looks fantastic despite her advanced age. Proper craftsmanship that returns Soderbergh to the first league of directors. 80% (07/25/2013)

Steven Soderbergh's surgically precise direction dominates this cold, seemingly pharmaceutical fraud. A standard set-up, a brilliantly tangled in the middle and a worthy finale. A film with a plethora of perfectly cast roles, tight reins and an unpredictable plot. I wouldn't be afraid to call it one of the best thrillers of the year. It's not as atmospheric and emotionally charged like Prisoners, but here everyone is evil, which is a very interesting cinematic twist. Usually when Soderbergh makes movies, it's not about good and evil characters, it's about who knows how to walk the walk. (06/02/2016)