{"id":2638,"date":"2013-03-08T11:38:06","date_gmt":"2013-03-08T10:38:06","guid":{"rendered":"http:\/\/www.electricsheepmagazine.co.uk\/reviews\/?p=2638"},"modified":"2013-03-08T11:38:06","modified_gmt":"2013-03-08T10:38:06","slug":"side-effects","status":"publish","type":"post","link":"http:\/\/www.electricsheepmagazine.co.uk\/reviews\/2013\/03\/08\/side-effects\/","title":{"rendered":"Side Effects"},"content":{"rendered":"<figure id=\"attachment_2557\" aria-describedby=\"caption-attachment-2557\" style=\"width: 594px\" class=\"wp-caption aligncenter\"><a href=\"http:\/\/www.electricsheepmagazine.co.uk\/news\/?attachment_id=2557\" rel=\"attachment wp-att-2557\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/www.electricsheepmagazine.co.uk\/news\/wp-content\/uploads\/2013\/03\/review_sideeffects.jpg?resize=474%2C267\" alt=\"\" title=\"Side Effects\" width=\"474\" height=\"267\" class=\"alignleft size-full wp-image-2557\" \/><\/a><figcaption id=\"caption-attachment-2557\" class=\"wp-caption-text\">Side Effects<\/figcaption><\/figure>\n<div class=\"left\">\n<p class=\"caption\">\n<B>Format:<\/B> Cinema<br style=\"line-height: 22px;\"><br \/>\n<B>Release date:<\/B> 8 March 2013<br style=\"line-height: 22px;\"><br \/>\n<B>Venues:<\/B> UK wide<br style=\"line-height: 22px;\"><br \/>\n<B>Distributor:<\/B> Entertainment One<br style=\"line-height: 22px;\"><br \/>\n<B>Director:<\/B> Steven Soderbergh<br style=\"line-height: 22px;\"><br \/>\n<B>Writer:<\/B> Scott Z. Burns<br style=\"line-height: 22px;\"><br \/>\n<B>Cast:<\/B> Rooney Mara, Channing Tatum, Jude Law<br style=\"line-height: 22px;\"><br \/>\nUSA 2013<br style=\"line-height: 22px;\"><br \/>\n106 mins\n<\/p>\n<\/div>\n<p>A dizzying, dazzling affair at times, bearing witness to Steven Soderbergh\u2019s craftsmanship, <i>Side Effects<\/i> might be compelling in the heat of the moment but, like a bad drug, it\u2019s a quick fix that leaves you all the more frustrated afterwards. <\/p>\n<p>Emily (Rooney Mara) should be nothing but happy since her husband Martin (Channing Tatum) has just been released from prison after a four-year sentence for insider trading. And she tries to be, duly swallowing every pill her friends, family and doctors recommend, but she can\u2019t help feeling down: Martin\u2019s return has brought back her long-suppressed depression, which soon pushes her to hurt not just herself but those around her. When after a long sleep on a new antidepressant she finds her husband stabbed to death, she can\u2019t seem to remember a thing. Suddenly all eyes are on her psychiatrist (Jude Law), who prescribed the medication and emerges as the outlaw in a mix of pharmaceutical cover-up story, conventional psycho-thriller, unpredictable plot twists and wayward solutions. <\/p>\n<p>Emily\u2019s subtle transformation from the troubled loving wife to diabolical <i>femme fatale<\/i> is a little rocky, but a confident cast and their director largely keep the film aloft: it\u2019s another genre exercise for Soderbergh that he has managed to pull off with the help of his Hollywood friends to entertaining, if ultimately rather underwhelming, effect.  <\/p>\n<p><I><B>Pamela Jahn<\/B><\/I><\/p>\n<div id=\"expander\"><\/div>\n","protected":false},"excerpt":{"rendered":"<p>A dizzying, dazzling affair at times, <i>Side Effects<\/i> is like a bad drug, a compelling quick fix that leaves you all the more frustrated afterwards.<br \/>\n<I><B>Review by Pamela Jahn<\/B><\/I><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[11,1],"tags":[133,305,596,595],"class_list":["post-2638","post","type-post","status-publish","format-standard","hentry","category-check-it-out","category-cinema-releases","tag-american-cinema","tag-femme-fatale","tag-genre-cinema","tag-soderbergh"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","wps_subtitle":"","jetpack_shortlink":"https:\/\/wp.me\/purUP-Gy","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":2997,"url":"http:\/\/www.electricsheepmagazine.co.uk\/reviews\/2013\/06\/06\/behind-the-candelabra\/","url_meta":{"origin":2638,"position":0},"title":"Behind the Candelabra","author":"Pam Jahn","date":"June 6, 2013","format":false,"excerpt":"Soderbergh\u2019s Liberace biopic is outrageously witty, feisty, slick looking and well-acted, without feeling conceited or narcissistic. 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Review by Mark Stafford","rel":"","context":"In &quot;Cinema releases&quot;","block_context":{"text":"Cinema releases","link":"http:\/\/www.electricsheepmagazine.co.uk\/reviews\/category\/cinema-releases\/"},"img":{"alt_text":"The Good the Bad the Weird","src":"https:\/\/i0.wp.com\/www.electricsheepmagazine.co.uk\/reviews\/wp-content\/uploads\/2009\/02\/The-Good-the-Bad-the-Weird-594x339.jpg?resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.electricsheepmagazine.co.uk\/reviews\/wp-content\/uploads\/2009\/02\/The-Good-the-Bad-the-Weird-594x339.jpg?resize=350%2C200 1x, https:\/\/i0.wp.com\/www.electricsheepmagazine.co.uk\/reviews\/wp-content\/uploads\/2009\/02\/The-Good-the-Bad-the-Weird-594x339.jpg?resize=525%2C300 1.5x"},"classes":[]},{"id":2440,"url":"http:\/\/www.electricsheepmagazine.co.uk\/reviews\/2012\/09\/07\/tabu-2\/","url_meta":{"origin":2638,"position":2},"title":"Tabu","author":"VirginieSelavy","date":"September 7, 2012","format":false,"excerpt":"Beautifully dreamlike, Miguel Gomes's Tabu combines the story of an impossible love affair with a quirkily surreal, poetic view of colonial history. 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