Review: "Contagion"

A disease pandemic means zombies. That's what the Hollywood of the past decade or so can't seem to get over. Not that there haven't been some good films to come out of the trend (28 Days Later...), but all in all, the disease-equals-zombies movie has been done enough to last us for a while. A movie strictly about disease, however? That's the sort of thing that hasn't been done in a while, so leave it to chameleonic director Steven Soderbergh (Traffic, Ocean's 11, Che) to give us a more grounded take on a viral menace.

Opening on Day 2 of the epidemic, Contagion follows a mysterious viral outbreak whose first victim is Beth Emhoff (Gwyneth Paltrow). As the virus begins to spread, the film travels across the globe, following everyone from health officials (Laurence Fishburne, Kate Winslet, Jennifer Ehle, Marion Cotillard), to the possibly infected (Matt Damon), and even a conspiracy theorist/blogger (Jude Law). Some try to find the virus' source, others try to contain its expansion, and some simply try to keep their lives from falling apart.

And, as rendered by Soderbergh and his team, the story is one that keeps its feet firmly on the ground. There are scenes of frustration and panic, even rioting, but Scott Z. Burns' script never gives in to hysteria or melodrama. Contagion isn't concerned with scenes of people becoming violently ill, or gross-out moments (save for maybe one). Instead, it keeps its focus on telling a grounded story about an increasingly aggressive disease. Soderbergh and Burns received cooperation from the CDC, and they've obviously taken the organization's advice seriously; the film feels uncomfortably plausible. Acting as his own cinematographer, Soderbergh captures the surfaces where the virus spreads (or makes contact) with a precision that is uncomfortable, and may very well have you rushing to douse your hands in Purell when the movie is over.

As the film progresses, though, it also starts to run out of steam. The first hour or so, when the disease is still an unknown (and still spreading rapidly) is stronger, but even it has its share of flaws. Though Stephen Mirrione deserves credit for his tight (but not hyper active) editing, he's left trying to cover too many bases. The story of the investigation of the disease, as well as Damon's arc, probably would have been enough to sustain the narrative. Unfortunately, there are two story threads that aren't quite up to snuff.

The first is Law's, which tracks a conspiracy blogger who simultaneously believes that the CDC is in bed with pharmaceutical companies, while trying to sell his own homeopathic treatment. Even though Elliot Gould has an amusing line about why blogging isn't real journalism, the film's use of Law's character feels too easy and too broad. The more I think about Law's scenes, the less I like them. With the clinical distance that Soderbergh is keeping from his subjects, this particular character is only more difficult to remain interested in as time goes on. But then there's Marion Cotillard's story line, which isn't so much useless as it is short-changed. With the strand already kept seemingly on the back burner, the film simply abandons Cotillard's character at two rather crucial points. There was probably an interesting angle to be mined from the arc, but little to nothing is made of it.

These two strands are part of Contagion's Achilles Heel. In trying to be an anti-disaster movie, and avoid sensationalism, Soderbergh and Burns have perhaps gone too far in the other direction. While I respect the film's attempts to ground itself in procedure and science, I can't help but feel that too much time is spent on characters spouting information, which robs them of the chance to, well, act. The script's fixation on the science of the story drains too much life from the characters for any of them to be worth connecting with, save maybe for Damon, Fishburne, and Winslet. Considering that the film is already jumping between and among characters, the problem only gets worse as it goes on, rendering the film's emotional angle void. So even though there is much to respect within Contagion, which ends on an interestingly simple (albeit unsettling) note, from its grounded story telling to its fine technical aspects (kudos to Cliff Martinez's sinister, pulsating score), the overt lack of emotion renders a potentially groundbreaking thriller little more than an antiseptic piece of low-key thriller entertainment.

Grade: B-

Venice Review Round-Up: "Contagion"

Hollywood loves a good disaster movie. And, thankfully for studios, they come in many variations. Earthquakes, tidal waves, burning skyscrapers, monsters, or simply the end of the world itself. And, when it comes to movies about diseases, Hollywood isn't usually known for being anymore realistic. Whether it's The Crazies or British imports like 28 Days Later (which is, to be fair, excellent), if it starts with a disease, it means one thing: zombies. So, leave it up to Steven Soderbergh (Traffic, Ocean's 11) to try something different with the sub-genre. For a while now, there's been buzz that Soderbergh's Contagion was unnervingly graphic and realistic in its treatment of a disease, and early word at Venice, in addition to praising the film, is only reinforcing those early notions.

The Telegraph - David Gritten (N/A): "...a cut above most Hollywood thrillers..." (most of the review was spent on vague plot details, so a big 'booooo' to Mr. Gritten.

The Hollywood Reporter - Todd McCarthy (N/A): "Director Steven Soderbergh and screenwriter Scott Z. Burns create unease and simmering tension without going over the top into souped-up suspense or gross-out moments..."

The Guardian - Jason Solomons (3/5 stars): "I was shuffling nervously in my seat, edging away from the sniffling man next to me." "...well assembled and propulsive, though like the virus, it loses momentum."

IndieWire - Oliver Lyttelton (A-): "Soderbergh creates a kind of tapestry of illness and panic, and the structure works like a charm..."

Variety - Peter DeBruge (N/A): "Still, without fully rounded characters, it's hard to care who lives or dies..."

Time Out London - Dave Calhoun (3/5 stars): "It's a sober and engrossing dramatic thriller..."

Venice Verdict: Though it may not be entirely personable, Contagion is a major success for Steven Soderberg, and an unusually realistic and unsettling ensemble thriller.

On the Horizon: September & October

Having forgotten to conjure up a list of must-sees for the first month of the Aug-Oct period, I figured that I could at least pick up the slack by devoting some coverage to September and October. Turns out that the next two months have more than enough in store for several worthwhile trips to the theater.

The Rum Diary dir. Bruce Robinson [October 28th - Wide]

Though it's hard not to hear the words 'rum' and 'Johnny Depp' and not think of Jack Sparrow,The Rum Diary couldn't be any further from Pirates of the Caribbean, location aside. Adapted from Hunter S. Thompson's novel, Bruce Robinson's film follows Paul Kemp (Depp), a writer struggling to find himself while writing for a second-rate newspaper in the Caribbean. The film feels like it's been pushed back over and over (much like John Madden's The Debt), but it seems like 2011 is the year we'll finally get to see this project hit theaters. In addition to boasting a great cast (Depp, Amber Heard, Giovanni Ribisi), the source material promises that, at the very least, it won't be a boring. Let's just hope those delays aren't the bad sign they could easily be interpreted as.

Martha Marcy May Marlene dir. Sean Durkin [October 21st - Limited]

With its fondness for the 13th letter of the alphabet, expect this one to leave theater-goers mixing up the title in any number of combinations. That silliness aside, Sean Durkin's debut, which earned raves at Sundance, has been gaining buzz for months now. In addition to indie sensation John Hawkes (Winter's Bone), the film has earned raves for leading lady Elizabeth Olsen (as in, sister of Mary Kate and Ashley) in the role of a young woman trying to reconnect with her family after breaking away from an abusive cult religion. To say that the footage out there is intriguing is an understatement, and Durkin looks like he could be headed for debut of the year status with this indie breakout.

50/50 dir. Jonathan Levine [September 30th - Wide]

Cancer sin't exactly a word that inspires fits of laughter, but that's exactly what Jonathan Levine is aiming for with 50/50. Joseph Gordon-Levitt stars as Adam, a 27 year old who tries to beat his cancer diagnosis along with his friend Kyle (Seth Rogen) and therapist (Anna Kendrick). The film has earned surprisingly strong early word of mouth, with heaps of praise being thrown at Levitt and Angelica Huston (as Adam's mother). The subject matter's slightly comedic twist might be uncomfortable for some, but if early reviews are any indication, Levine and co. have managed to navigate the plot with enough sensitivity in order to earn both laughs and tears.

Moneyball dir. Bennett Miller [September 23rd - Wide]

Despite an incredibly dry first trailer, and those snarky commenters labeling the film "Brad Pitt's The Blind Side," Moneyball actually has quite a bit going for it. In addition to the strong cast (Pitt, Jonah Hill, Phillip Seymour Hoffman, Robin Wright), the script was written by Steven Zaillian (Schindler's List) and a little writer named Aaron Sorkin. Then there's Bennett Miller in the director's chair, whose last film was the acclaimed Capote (2005). So even though the baseball-oriented subject matter might not be a draw for many, this one's got credentials in spades, and could be one of the surprise hits of the fall.

Restless dir. Gus van Sant [September 16th - Limited]

I can't decide if I find the whimsical details of Restless intriguingly quirky, or annoying and desperate. The latest from Gus van Sant follows the romance between a terminally ill girl (Mia Wasikowska) and a boy (Henry Hopper) who is visited by the ghost of a Japanese kamikazi pilot. Also, he likes to attend funerals for fun. It would be a lot easier for me to write this one off were it not for the people involved, especially considering some of the less-than-kind reviews it received at Cannes. But van Sant is always worth a look, and Wasikowska has quickly become one of the most promising new talents, so I'm hoping that all of the ingredients here will come together to create something special.

Like Crazy dir. Drake Doremus [October 28th - Limited]

Another Sundance title that I've heard tons about for months, Like Crazy tells the story of a British student (Felicity Jones) who falls for an American (Anton Yelchin), only to be separated from him when her visa expires. Early reviews have generally been positive, calling Doremus' debut a complex and honest depiction of young love, like a college-aged (and less bleak) Blue Valentine. Jones and Yelchin (especially the former) have picked up strong reviews as well, further cementing their statuses as young talents to watch in the coming years.

The Thing dir. Matthijs van Heijningen Jr. [October 14th - Wide]

It may technically be a prequel to the 1982 John Carpenter film, but that hasn't stopped the studio from keeping the title (or the plot, for that matter) from being almost identical. Starring Mary Elizabeth Winstead (Scott Pilgrim vs. The World) and Joel Edgerton (Animal Kingdom), this prequel traces the first meeting between an Antarctic research team, and a crashed alien spacecraft (along with its hostile passenger). Early buzz has been positive, claiming that even though the film is uncomfortably close to the Carpenter version, it holds its own in terms of story and scares.

The Ides of March dir. George Clooney [October 7th - Wide]

George Clooney is back in the director's chair, and his latest looks more like Good Night and Good Luck than Leatherheads, which is definitely for the best. Based on Beau Willimon's play (reportedly based on Howard Dean's campaign), the film follows campaign staffer Stephen Myers (Ryan Gosling) as he gets a crash course in dirty politics. Boasting a terrific cast which includes Phillip Seymour Hoffman, Paul Giamatti, Marissa Tomei, and Clooney himself, Ides' real draw is Mr. Gosling. A talented actor with a good knack for picking scripts, he's seemed reluctant to fully embrace his star potential until now, which can (hopefully) only mean good things from here on out.

Drive dir. Nicholas Winding Refn [September 16th - Wide]

And speaking of Ryan Gosling, here's yet another star vehicle of his coming out this year, one with solid pre-release buzz firmly in place. Though the story could have easily been another run of the mill project featuring the likes of Jason Statham, Drive has picked up strong reviews, flat out raves even, and managed to win the Best Director prize at Cannes back in May. That's no small feat for a graphically violent crime thriller.

Contagion dir. Steven Soderberg [September 9th - Wide]

This virus thriller from Steven Soderberg may have a star-studded ensemble, but don't expect the big names to get special treatment when it comes to the story. Much like TV shows The Sopranos or Game of Thrones, Contagion's trailer, which boldly lets us know that Gwyneth Paltrow's character dies, very clearly sets up a world where no one is safe. There isn't much early buzz on the project, but what can be found makes one thing clear: Soderberg and co. are striving for a level of realism so graphic that it's left some test screening audiences feeling nauseous. The only worrisome thing about the film is that it was bumped from an October release. It's not as bad of a sign as constant delays, but considering the shift gave the film less time for promote itself, it could be a sign that Warner Bros. doesn't want to spend too much marketing the finished product. Still, Soderberg is a pretty reliable director (not to mention an efficient one), and he's done great work with large casts before (Traffic).

The Skin I Live In dir. Pedro Almodovar [October 14th - Limited]

I can't remember the last time that a film's sheer weirdness has enticed me so much. Without giving away an ounce of concrete plot, the images and trailers for Almodovar's latest have me hooked, and I'm thrilled that the film will be hitting American screens this early. Starring Antonio Banderas, all I've learned (or cared to learn) about Skin is that it's a plastic surgery revenge thriller. That description could easily be a schlock torture porn film from the director of SAW, but this is Almodovar, one of our best living directors. The material itself may be darker than his past few films (although he's always included dark story elements), but the footage is classic Almodovar, with touches of noir, melodrama, camp, and vibrant colors (the man sure knows how to use red). Consider me sold.

Take Shelter dir. Jeff Nichols [September 30th - Limited]

This second feature from Jeff Nichols (Shotgun Stories), has been earning strong reviews, and after re-visiting the trailer, it's easy to see why. The film follows Curtis (Michael Shannon) as he tries to figure out if his dreams about cataclysmic storms are visions, or the onset of schizophrenia. The majority of the trailer has an eerie calm to it, before teasing us with quick glimpses of craziness at the end. All of it, however, is compelling, whether it's as a character study, a pyschological drama, or a thriller. Throw in Shea Whigham (Boardwalk Empire), Jessica Chastain, and Kathy Baker, and you have what very well could be the definitive indie break out film of the year, which is saying a lot.

Trailer: "Contagion"

Virus movies, though certainly nothing new, are usually connected to another genre: zombie films. But what if a movie decided to take a grittier, realistic approach, where the virus itself, and not the threat of mutations or zombies, was the real villain? That would give you Contagion courtesy of Traffic and Ocean's 11 director Steven Soderbergh. Despite the long wait for a trailer, not to mention the recent bump to an earlier release date (Sept. 9), I'm still excited for this film. Soderbergh has made some great films, and his ensemble here is all-around fantastic. But what's really intriguing here is a simple editing choice, one that lets us know that Gwyneth Paltrow's character dies. Honestly, when was the last time a trailer for a big budget studio film killed off one of the biggest names in the cast? It's the sort of decision that sends a very clear, and very unsettling message: no one is safe. That test screening audiences are reportedly calling the film "nausea-inducing" in its graphic (and supposedly realistic) depictions of a deadly virus only makes me more excited to see what Soderbergh and writer Scott Z. Burns have in store for us.

Gwyneth Paltrow joins Soderbergh's "Contagion"!!!

I am loving this! Apparently the new trend is Hollywood is to assemble lineups of really talented people in films with interesting premises. Now here's a Hollywood movement I can get behind. I love that Paltrow is (cautiously) making her way back into big films, what with Iron Man now a successful series, with the second installment arriving in May. And Marion Cotillard and Kate Winslet doing sci-fi/thriller? I'll pay to see that (although, to be fair, Cotillard will already be venturing into sci-fi/thriller territory this summer with Inception)!! And then there's Soderbergh, always an interesting director; if there's one thing he can't really be accused of, it's making the same film twice.

Source: Slashfilm

Brief news on Contagion, the recently announced Steven Soderberg viral thriller penned by Scott Z. Burns. The film already has a hell of a cast: repeating Soderbergh star Matt Damon plus Kate Winslet, Marion Cotillard and Jude Law are all in the lineup. Now Gwyneth Paltrow has joined as well, making this a cast that is sizable enough to span continents as a deadly virus spreads around the globe.

Burns and Soderbergh hatched the story while making The Informant!, and the script was inspired by the swine flu outbreak and discussions about “germs and how the nature of a virus could be used to deal with issues of sovereignty and as a metaphor for the way information and misinformation travel in contemporary society.”

The film isn’t sold to a distributor yet, but Soderberg & Co. are shopping it around based on a $60m budget. [DHD]

Read more: Gwyneth Paltrow Joins Soderbergh’s Contagion | /Film http://www.slashfilm.com/2010/02/16/gwyneth-paltrow-joins-soderberghs-contagion/#ixzz0gJFbJZsV

Awesome cast line-up of the day: Steven Soderbergh's "Contagion" (201?)

Source: Unknown

So just how good is Scott Z. Burns' "Contagion" script? It's so good that Steven Soderbergh decided to push everything else aside to fast track it for a fall start. An action-thriller about the outbreak of a deadly virus, from what we've heard, Burns' script is a multi-strand film not unlike the Academy award-winning "Traffic." Our sources tell us the story takes place over four continents and is "terrifying."

The project has attracted the likes of Matt Damon, Kate Winslet, Jude Law and Marion Cotillard who all have deals closing to star in the film. With the cast in place, Soderbergh and his people are now shopping the project around town with co-financing already in place from Participant Productions. Undoubtedly with a great cast already locked, and with comparisons to "Traffic" and "Bourne" being thrown around, this one will get snapped up quick. For Burns, it continues his run of projects with both Soderbergh and Damon. Having scripted "The Informant!" and "The Bourne Ultimatum," he's clearly delivering the kind of work both of these guys like.

This isn't the first we've heard of the script. Back in September, Burns discussed how he and Soderbergh originally came up with the idea to do a "virus movie" after a sneeze in "The Informant!" triggered a discussion of germs (and evidently metaphors) between the two.

So what about Soderbergh's long-gestating "Liberace"? No worries there, as it's simply going to film after "Contagion" in early 2011 with Michael Douglas and Matt Damon still on board. And of course, the endlessly restless director is currently hard at work shooting his martial arts spy flick "Knockout."