Review: Soderbergh is known for not clinging to the same style or approach two times in a row. After the flamboyant “Magic Mike” or the experiment-on-action “Haywire”, he returns to the thriller genre with “Side Effects”, a film more in the line of “Contagion” but replacing the sci-fi factor for a psychological one. To tell the truth, “Side Effects” worked better than any of the movies mentioned before, mostly due to three aspects: unpredictability of the plot, stable pace with no low or weak moments, and precision in storytelling. The story centers in a woman with a long history of depression, who murders her husband. Having been medicated with a new antidepressant, she claims not to remember having committed the act. A question arises: is she guilty of a conscious homicide or a mere victim of medicine side effects? Soderbergh expressed his versatility through designed camera plans and magnificent close-ups, highlighting the coldness of the characters, but never neglecting the gripping atmosphere. Reliable side effects are guaranteed from watching this one.