On this week’s episode, Brian and Zach speak with PopOptiq …
It begins and ends with a look. In that look is hesitance, longing, desire, confusion, confidence, conviction, hope. Even love. On NPR’s Pop Culture Happy Hour, writer and critic Glenn Weldon described real chemistry between actors living in the look, elaborating on the attraction manifesting in the movement of the eyes.
THE 59TH BFI LONDON FILM FESTIVAL ANNOUNCES FULL 2015 PROGRAMME …
Oplev’s vesion hesitates not a second in taking the same characters and the same plot and rewiring them, switching the focus from the investigation to central relationship. Fincher’s film is an adaptation that both on page and on-screen is a loyal and loving tribute to the book, a rarity with such efforts. The term remake, perversely, has never been more appropriate.
One of the persistent side effects of what may turn out to be Steven Soderbergh’s final theatrical release is destabilization. The film, aptly named Side Effects, is constantly forcing you to reevaluate who its characters are, what their motivations might be, and ultimately, what kind of story we are watching. In this regard, it becomes an almost perfect capstone to the career of one of Hollywood’s most prolific and versatile filmmakers.
t is with a significant pang of regret in 2013 that we bid a fond adieu to director Steven Soderbergh, but at lerast we have the smnall placebo of two remaining films from the incredibly profligate director, beginning with his penultimate film Side Effects. If you’ll excuse the pun I don’t wish to get too ‘side’tracked but I think there are a few crucial items to consider before we delve into the movie itself, a concluding episode to his career which is as expected a superb contemporary drama which springboards into other areas with the dexterous ease of a state drilled East German Olympic gymnast, namely what on earth could drive such a prolific and endlessly inventive cinematic soul into potential big-screen retirement?