Side Effects (2013, Steven Soderbergh)

Quietly confident as it navigates various twists and power shifts in a deceptively convoluted plot, Steven Soderbergh's final film is a nightmare parable taking it to the heart of the pharmaceutical industry while disguised in genre make-up. Side Effects makes for an intelligent and ultimately impressive final bow to an illustriously varied career.

An exquisitely 'old-school' title sequence reminiscent of Rosemary's Baby slowly draws us in from a wide shot of a city to an apartment window, an apartment with a once pristine interior now sprayed with blood. Taking us through a three week build up to the aforementioned bloodletting introduces Emily Taylor (Rooney Mara) as she relapses into depression as she anticipates her husband, Martin (Channing Tatum), who is soon to be released from prison. After attempts to end her life Emily is put on a new drug programme by psychiatrist Jude Law that should clear up the deep-set negativity at the heart of the problem, however, as the title alludes, there are complications in Emily's relationship to this new drug as the film takes a narrative nosedive down the rabbit hole.

Side Effects succeeds in subverting the rather familiar set-up laid out so early on, revealing layer after layer in its development with a growing level of power plays at its heart. Beginning as a paradigmatic psychological thriller, Soderbergh and writer Scott Z. Burns dismantle connotations of genre and take the wheels off, pushing the story into unexpected territorial shades. What the film manages, something that the best thriller/mysteries do so well, is keeping the audience one step behind as the narrative unfolds while maintaining intrigue throughout so as not to alienate. After regaining a sense of creative fulfilment with Magic Mike after a string of un-involving projects, it's therefore vital that again Soderbergh is tightly behind the controls to match the precision of his visuals with a schematically astute delivery this time around. Shooting as usual under the pseudonym of Peter Andrews, Side Effects is Soderbergh's most visually seductive film of his career, surpassing anything he's made in the last 13 years.

The cast are all of a piece here and deliver everything needed for a film of such wavering dynamics; fans of Magic Mike may be disappointed that Tatum doesn't get as much to play with, Rooney Mara adds more evidence to the pile that she's simply an unmissable young performer as she manages a wide spectrum of emotions/perceptions, and Law does some of his best work as he carries much of the film on his own steam. Thomas Newman also delivers some of his strongest material in years, a composer of an often benign nature, his work here brilliantly brings about menace and foreboding but in an enticing and lulling manner. Like Emily Taylor, the cataclysmic and beautiful centrepiece of Side Effects, Newman's score is both morose and irresistibly inviting.

Magic Mike (2012, Steven Soderbergh)

This story of the dreams and efforts of a self proclaimed 'entrepreneur' who moonlights as a male stripper certainly has nothing new to say in its allusions to the American dream and current economic climate, but with grace and modesty the film carries itself with upmost confidence, never feeling the need to announce its intentions as boldly as the tacky neon lights that permeate it. Magic Mike is pure Americana, a story that feels destined in its Floridian setting; with high respect for its characters, some fine performances, and a feel good natured story that neither forces itself or fears losing itself in some grit. Magic Mike is a rare example of populist American cinema, a film that would have been right at home during the 1970s film renaissance. 

The titular character of Mike is played by Channing Tatum, an actor whose past experiences in the profession forms the basis of the film. Mike dreams of one day starting his own furniture business, one in which every item is unique and irreplaceable. For 6 years he's been stripping down to his bare essentials for women in aid of his dreams, the profession certainly brings a lot of dough home but this isn't nearly enough. Mike works as a builder during the day as well as another business involving automobiles that isn't wholly revealed; he is a hardworking man who knows where he wants to go and does everything in his power to do so, but as this parable reveals it's easy to get trapped within the system you think is working for you, have no illusions that at any time its you who works for it, and it doesn't want to let you go.

While tiling a house one day Mike meets a new upstart in Adam (Alex Pettyfer), a down on his luck younger man staying on his sister's couch with a knack for destroying his chances and a mild disrespect for authority. Before long in pure 'buddy movie' exchanges Mike has taken in Adam to have him work as a production assistant for his show that night. Of course its not long before Adam is thrust upon the stage to in turn thrust himself at the rambunctious female crowd. In more buddy movie cliches we're treated to a montage where stripping gang leader Dallas (Mathew McConaughey) teaches Adam how to perform; in a prolonged and hilarious moment Dallas teaches him how to work his pelvis in front of a mirror, McConaughy is pure unashamed dynamite as he is throughout, the action is absurd, and the homoerotic levels through the roof. The unbearable exchanges between John Travolta and Jamie Lee Curtis in Perfect (1985) spring to mind.

On the side of Adam's rise to stripping glory is Mike's relationship with Adam's protective sister Brooke (Cody Horn). Brooke is the grounded sensibility to Mike's wild party persona and his instant attraction and pursuit of her is at first nonsensical, her 'square' lifestyle and over protective nature hints at possible past traumas and lessons learned. For a film of pure Americana such as this it's also surprisingly European in characterisation; no backstory is provided for any characters and despite the frontrunners feeling distinctly human they still tinker as mere entities. Cutting the unnecessary expositional cues that neatly explain why characters act the way they do is refreshing here as their actions are left to speak for themselves. It's never revealed why Brooke is so protective of her brother and though Mike promises to take care of him Adam begins a slippery slope with drugs, taking the film to darker territories. Director Steven Soderbergh tackled drugs perfectly in his oscar winning masterpiece Traffic (2000) and despite the issue of drugs being less relevant here, the scenes depicting Adam's drug-use are of upmost sincerity and accuracy, never using judgmental shock value and exaggeration to force impact. 

There's more than a hint of Boogie Nights (1999) to Magic Mike - the rise and fall story of American values, descent into drugs, the tacky nature of a much criticised profession, even a minor but well endowed character brings to mind Dirk Diggler's 'gift'. But the comparisons don't stop there as both films mark a return to pure American story telling that puts character before plot, stories that manage to maintain social commentary through their entertainment. Above all, like Boogie Nights the film never judges its characters and their profession, sure it never shies away from the pitfalls but it never condemns either. Clearly a passion project for Tatum, Magic Mike is clearly loved by all involved. From the joyous often breezy chemistry between the cast (McConaughey is especially a riot here), to Reid Carolin's thoughtful script, everyone seems to be having a great time. Even Soderbergh, the super talented and equally prolific filmmaker seems to have added a little more of himself this time round compared to any output of the past 10years. His handling of the dance numbers provide laughs rather than cringes as many actions seen to be seedy are brushed off with carefree ease, depicting a man dry humping a woman's face was never going to be an easy task but never is the film unpleasant. Tatum's own dance/stripping experience adds a certain showbiz quality as we witness him performing without stunt/body doubles, his talent as a performer in clear view as he loves every second.

It's a stretch to laud Magic Mike as a 'great' film but there's no question of its entertainment value and dramatic weight. The film doesn't aim high and for that it fails to be exceptional but also allowing itself success - after all, how high can a marginally categorised dance movie about strippers aim? It's a joy to see a film as predictable and hackneyed as this be such fun due to the simple care of its craft and excellently realised soundtrack. By the end you'll realise you haven't ceased smiling in quite some time. 

Haywire (2012, Steven Soderbergh)

Haywire shows Steven Soderbergh doing what he does best once again; assembling an all star cast and throwing his hat into the ring to take on a well known and often tired genre. His last film Contagion saw him take on the disaster movie in the shape of world wide pandemic, the genre (a loose one at that) was extremely popular in the 70s and with Haywire Soderbergh takes the action back (stylistically not literally) to the same era with this action/revenge yarn. The plot is weak, the action not as frequent as expected but is held together by the presence of its central heroine. 

Mixed martial arts fighter Gina Carano makes her acting debut here after Soderbergh spotted her and became adamant in building a film around her talents. The director's infatuation with his star is clear throughout; doing her own fights and stunt work Soderbergh films her with intense fixation, whether she scales a wall or sprints after a target he is fascinated by Carono's physique and adds no cinematic trickery to heighten her abilities. 

Soderbergh's attention to Carano - the black ops soldier betrayed by her employers - takes away further attention from the cliched and frankly dull story but in this case it doesn't matter if the film merely exists as a pedestal for Carano because she carries the film with no problems. For a film with many underdeveloped areas such as this Carano certainly isn't one of them, she isn't Brando by any means but acting along side seasoned performers like Michael Douglas and Antonio Banderas she isn't below them when facing off. 

The fight sequences are technical but with a rough ferocity adding to the background of its star, Haywire is full of pulsing jazz music giving it a 70s almost edge but when the fists start flailing the music steps back, Soderbergh reminding that this is closer to the real thing rather than a 'cinematic' fight. The highlight of the film comes from a showdown between Carano and Michael Fassbender in a hotel room, emphasising once again how the stars who face off against her (Channing Tatum also impresses) are just as important to these scenes, it's the person taking the punches who needs to convince most, and unlike Carano they don't take punches for a living. Our heroine isn't shown to be invincible, in a brilliant reminder of her mortality she slips and falls from a height winding herself as she crashes to the concrete, limping off crunched over like a wounded animal, a nice touch.

Haywire isn't a great movie by any means but it's sure an enjoyable ride, it never tries to rise above the genre trappings of a B-grade action movie but with Soderbergh's slick direction it's given the visual edge over most. The film succeeds due to its leading lady's ability to hold the screen, given the experienced talent she faces here only Carano makes an impression - a bright future in Hollywood set for sure. Though it doesn't add anything new to the action genre it's not trying to either and with the absence of forced 'girl power' moments that would cheapen the picture Haywire is a success, a perfect saturday night movie after an indulgent takeaway.

Che: Part Two (2008, Steven Soderbergh)

The second and final chapter to Steven Soderbergh's biography of Ernesto 'Che' Guevara is a tragic counterpart to the first. Whereas Che: Part One charted the success of the Cuban revolution ran by Che and Castro Fidel,  Part Two follows the Argentine as he flees Cuba to start an uprising in Bolivia, an unsuccessful mission that led him to death in 1967.

After Che has entered Bolivia disguised under the false persona of a US representative from Uruguay, he rendezvous with his men in the mountains and builds, as before, a political army of guerilla fighters. What at first starts out as a band of strong merry men full of conviction soon descends into abandonment, or at worst treachery as food and medicine become increasingly scarce. As the Guerilla's strength gradually wavers and the Bolivian government moves in, we see Che's undoing in efforts cursed rather than inflicted through poor leadership. 

Once again the script is built from Che's diaries and interviews from those who worked alongside him. As before it's mostly interested in the small details, never giving into Hollywood biographical cliches its substance stems from the sum of its parts, lots of very small ones. This refined approach to Che's endeavours in Bolivia sets out to reveal the sacrifice and hardship of the Guerilla lifestyle, the extremity of it but also the strained and tedious nature of it. These men gave up normal lives with family and loved ones to live in grave isolated conditions, all for their cause. Through the course of the film it picks apart the lifestyle, exposing the nuts and bolts of the Guerilla life. Results are hardly 'cinematic' and viewers with no real interest in Che's life will find it hard to endure, it's not an easy accomplishment and makes for a rather gruelling experience, that's the point. At 135minutes, low on thrills, and never pressed to make a hero out of its titular hero, it doesn't try to impress in its low-key manner. The film requires us to endure as the soldier do, witnessing their downfall at each step of the way.

The film has a washed out look, perhaps a conscious decision on Soderbergh's part to comply with Che's own disastrous efforts, we know after all this mission will not end as Cuba did as his luck fades. Along with Alberto Iglesias' minimal melancholy score, and the perpetuate numbering of days marking Che's stay in Bolivia, it further highlights the impending tragedy waiting. This gives Che: Part Two a quality setting it apart from its predecessor, though being the weaker of the two it has a sadness and sense of dread that keeps it engrossing. The focus is lifted even further from Che, with the view widened to incorporate the efforts of Bolvia's government. They have grown scared of his power for change and his unprecedented sacrifice, with the help of the US they plan on eliminating him to ensure power. 

Taking another step back from Che, a man meant to be the centre piece seems like a misjudged step, though it's more of a bold one. In its entirety Che is a four plus hour epic about one of history's most famous figures, he is to this day making change in the heart of others while remaining just as controversial. This biography sets out to rid Che's persona of worship, not by judging but presenting events as accurately and honestly as possible. We're never granted access to Che's thoughts, he took them with him leaving only journals and comrades who live to tell his story. He was a remarkable individual but never played here as a hero here, making the film a successful historical piece rather than a character study.

When Che's capture and eventual murder finally comes it makes for a profoundly sad end. Injured, tied, and lost in a mass of overgrown matted hair, he never looks weak knowing he's defeated and death imminent. His guard asks if he believes in God, not seeing how a communist can have religion, he replies, "I believe in mankind". Suddenly gunned down in his holding cell without much hesitation, Che dies an honourable death none the less. Though this tragic end to an exceptional man is a shocking finale juxtaposed with his previous victory in Cuba. Leaving behind him a wife and five children, his life spent entirely to others, he fought for quality life robbed from so many. 

We never get close to the man as the filmmakers know this to be a false move, instead observing as if fighting alongside him, staying at a distance as a soldier would from his superior. Making a film about Che Guevara was never going to be easy and Steven Soderbergh and his team hardly make things easier for themselves, adding truth to their picture without weakening its effect with populist spectacle.

Che: Part One (2008, Steven Soderbergh)

Steven Soderbergh's depiction of Ernesto 'Che' Guevara's efforts in bringing around the Cuban revolution is a shocking yet refreshingly brazen take on the biographical film genre. The director clearly isn't precious with his subject but is wholly aware of not ticking any cliched boxes when it comes to this particular biography of one of history's most iconic figures. Che (Benicio Del Toro) is mostly shot in distant mid shots, often from behind, and very rarely indulging us (and Del Toro) with close-ups. Normally films of this nature hold their lead actors on vain pedestals, reaching for Oscar glory, though in this instance Soderbergh isn't playing ball. The film's scope is wide, providing us with a sweeping account of the guerrilla warfare, tactics and ideals that won the revolution rather than needlessly diving into Che's personal life. For those wanting to learn more about Guevara's early life and his catalytic reasons for his path, look no further than Walter Salles' wonderful The Motorcycle Diaries (2004).


Che: Part One makes no mistake in retreading covered ground, Peter Buchman's script is more concerned with the bigger picture of the conflicts, but on a smaller personal level with Che's weaknesses and mistakes under Castro's command. If anything Buchman and Soderbergh do all they can to ground this much praised icon, bringing him down from his mythical status, by keeping him at an objectively cold distance. This is far from the actor's vehicle we'd expect and a brave against the grain approach provides a biographical drama of a different kind. It refuses to conform to Hollywood rules of suckering audiences in to support its subject; Che is never made out to be a hero, though shown to be a humane and caring doctor he is also a cold leader capable of ordering the slayings of deserters. Revolutions are not won without bloodshed after all and we see him standby his actions before a United Nations General Assembly during one of few time frames the film erratically jumps to and from.

The film opens and closes in 1955 with Che's first encounter with Castro Fidel and his signing on as part of the 'July 26th movement'. It also flits between scenes from Che's 1964 press interview from New York, the guerilla warfare of 1957 Sierra Maestra, and the climactic battle for Santa Clara that secured victory. The Santa Clara segment is the closest thing Che: Part One gets to a war film, filmed with pristine clarity and grounded securely in realist combat, the rest of the film ignores or simply jumps prematurely away from battle. Reasons can be for Soderbergh to save it all for Santa Clara, as it is a brilliantly orchestrated segment (a train derailment being a highlight), or of course for Soderbergh to unashamedly keep us from settling into any specific space and to build characters. This leads to question whether Che: Part One is enough, with the cold distant execution of Che's persona and further distancing effects of its frantic non-linear editing, Soderbergh deserves praise for his conviction and refusal of the norm but it makes for a rather sterile exercise.


Benicio Del Toro needs no extra attention in order to make an impact and he was never going to get it here. One of the most electric screen performers working today, he draws the camera in and always makes for an intense presence, heightening any moment with as little as a fixed stare or even the flick of his shoulder. His performance is never in question and boy does he look the part, but as a film (or at least half of it) we're not given enough material that sticks, that resonates and makes us feel something, anything. At best we see Che suffering heavily with asthma, this well documented psychical flaw shows him as a fragile and delicate man making it incredible that a man as ill as he was conquered so much in such poor conditions. This is the closest we get to an individual human drama.

Unlike most biographical films Che: Part One doesn't pat itself on the back, ignoring any 'movie moment' temptation and with a slightly detached handle on its narrative, it does break the mould to an extent. Though not to desire the opposite of what Soderbergh has given us, the film is an awkward one to get to grips with, appreciating it while never given the chance to enjoy or to really learn anything new. At this stage it's only half of the story and perhaps part two which charts Che's failed efforts in Bolivia will fill some voids.


My review of Che: Part Two is here

Contagion (2011, Steven Soderbergh)

In Contagion, the popular disaster movie genre is brought back in an unashamedly unpretentious fashion by director Steven Soderbergh. Armed as usual with an army of A-list names, Soderbergh's B-movie reinvigorates rather than reinvents the tried and tested story of a worldwide epidemic. Its message is a simple one and one we've heard before, but the film succeeds by taking its time and never forgetting (even for a moment) what it sets out to do - making it a low-grabbing success. But is this enough? 


Starting the proceedings is Gwyneth Paltrow talking to, presumably, an ex-boyfriend on her mobile at an airport. She doesn't look her usual stunning self and soon enough we'll find out why. "Day 2" appears on the screen and before long we're following other random people around the world who are clearly disintegrating. The constant barrage of shots showing the germs spreading from person to person is a horrific reminder of how linked we all are, and the unknowing contact we maintain with each other everyday. As the days go on this mystery illness spreads at an alarming rate and it's not long before panic starts manifesting within the general public. This is where Contagion harbours most of its strength; an hour into the film, as the fear starts to grow, the fear mirrors the disease in the extreme rate it multiplies and changes its host for the worst. As the government control the release of information and advice to manipulate the world's emotions, fear becomes not only a weapon and a tool, but a spreading virus. 

These points of insight don't sound very deep, frankly they're not at all, nor is the film trying to act on a higher plain of IQ. Contagion's simplicity however isn't where its weaknesses lie; for a film that boasts an ever ending list of talented performers, it just doesn't have anything for them to do. As the multiple narratives plod on and never once converge, by the end these various stories have barely moved on or had the slightest breath of life pumped through them. 


Soderbergh regular Matt Damon gets the best deal of the bunch as a father who's lost his wife and step son, he and his remaining daughter do their best to survive and do it rather well, the risk is never high enough to care. Marion Cotillard doesn't have much to say or do whilst on screen, but then her epidemiologist character disappears for a painful amount of time following a rather weak kidnapping plot. Kate Winslet suffers the same fate as the others, we don't get to know them so we don't invest, the characters in Contagion are interchangeable to a point. 


The one character who does gets enough time to shine is Jude Law, who although having the most annoying character in the film at least has a personality to feel something for. His battle with the government and health department over their cerebral controlling of information is about as interesting as it gets, with the internet being shown as the future weapon of revealing corruption in high echelons. The internet is a powerful weapon to the common man, but can still be used for better or for worse.

The soundtrack provided by Cliff Martinez provides the perfect apocalyptic soundscape needed whilst giving Soderbergh enough snare to show off his precision editing, and the direction is as economic and unfussy as we've come to expect from such a prolific filmmaker.


Contagion has a simple and direct message that could have ended up feeling more like a public health announcement, but it manages to deliver this well, if at a cost. The script is so bland that even the Hollywood dream team can't raise it up a notch, and while we can forgive it for not saying anything new or profoundly interesting, some thrills would have been nice despite the relatively refreshing show of restraint.