Side Effects ★★★☆☆
Emily Taylor (Rooney Mara) eagerly awaits the return of her husband, Martin (Channing Tatum), from a four-year prison stint for insider trading. Instead of marital bliss, Emily spirals into depression, culminating in a dramatic vehicular suicide attempt. Enter Dr. Jonathan Banks (Jude Law), a psychiatrist who prescribes a series of antidepressants, none of which alleviate her malaise. At the suggestion of Emily’s former psychiatrist, Dr. Victoria Siebert (Catherine Zeta-Jones), Banks prescribes a new experimental drug, Ablixa, which seems to help but introduces unsettling side effects, including sleepwalking. The narrative takes a dark turn when Emily, in a sleepwalking state, commits a violent act, leading to a labyrinthine exploration of motives and manipulations.
“Side Effects” delves into the murky waters of the pharmaceutical industry’s influence, the ethics of psychiatric treatment, and the malleability of truth. It raises questions about the extent to which individuals are willing to go to reclaim lost affluence and the ease with which trust can be exploited. The film critiques the commodification of mental health, where the cure can be more dangerous than the ailment.
Soderbergh’s direction is as precise as a surgeon’s scalpel, crafting a clinical atmosphere that mirrors the sterile world of psychiatric treatment. The cinematography employs a cool color palette, reinforcing the film’s detached and unsettling tone. The deliberate pacing and meticulous framing reflect the methodical unraveling of the plot, maintaining suspense without resorting to overt sensationalism.
Rooney Mara delivers a compelling performance as Emily, oscillating between vulnerability and cunning with unsettling ease. Jude Law’s portrayal of Dr. Banks captures the character’s descent from professional confidence to personal and professional unraveling. Catherine Zeta-Jones embodies the enigmatic Dr. Siebert with a poised duplicity, while Channing Tatum’s Martin serves as the catalyst for the ensuing chaos, his charm belying the consequences of his past actions.
The film’s pacing mirrors the gradual escalation of tension, initially presenting as a straightforward drama before pivoting into a complex thriller. This structural shift may unsettle viewers expecting a conventional narrative, but it effectively mirrors the unpredictability of the subject matter. However, the latter half’s reliance on plot twists borders on implausibility, potentially undermining the film’s earlier grounded approach.
As someone who has observed the often opaque relationship between patient and psychiatrist, the film’s portrayal of the ease with which trust can be manipulated resonates deeply. It serves as a cautionary tale about the perils of placing unquestioning faith in those who hold power over our well-being, and the unforeseen consequences that can arise from the pursuit of quick fixes to complex problems.
“Side Effects” will appeal to viewers who appreciate psychological thrillers that challenge perceptions and delve into ethical ambiguities. While the film’s tonal shifts and convoluted plot developments may not satisfy all audiences, it offers a thought-provoking exploration of the intersections between mental health, ethics, and the law. In the end, it leaves us pondering the true side effects of deception and the lengths to which individuals will go to achieve their desires.
