DVD reviews: The Ides of March | Contagion
The unintentional irony of The Ides of March, George Clooney’s fourth film as a director, is that it presents itself as a weighty treatise on politics but ends up chiming a little too closely with the too-good-to-be-true Democratic presidential candidate Clooney plays in the film: it looks handsome, sounds smart and says nothing of worth beyond vague platitudes.
Its message – that power corrupts and politics is a dirty business – isn’t any fresher simply because the characters getting their hands dirty happen to be Democrats, and nor is it any more daring because it sees a high-profile Hollywood liberal taking thinly veiled pops at disenchantment with Obama.
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Hide AdBasic storytelling flaws are the chief reason this otherwise well-acted drama flags. That’s too bad, because for its first half, this tale of a hotshot campaign strategist (Ryan Gosling) who becomes disillusioned with the guy he’s trying to get elected (Clooney) is thoroughly engrossing, particularly as he becomes involved in a tug-of-war for his skills between rival campaign managers (Philip Seymour Hoffman and Paul Giamatti).
Sadly, the moment a flirty and glamorous young intern (Evan Rachel Wood) enters the fray, the film starts falling apart in the most cliché-ridden way possible with sexual misdeeds and dead bodies cluttering up the more interesting political drama it could have been.
Steven Soderbergh has no such problems: he knew exactly what type of movie the viral thriller Contagion needed to be and serves up plenty of slick, sick chills as he traces the path of a deadly infectious disease around the globe.
Kicking off with a pallid looking Gwyneth Paltrow kicking the bucket (and having the skin peeled from her skull in a gleefully gruesome autopsy), the film wastes no time getting down to the business of showing how easily a deadly swine flu-esque virus could spread – or how quickly panic would set in, especially in an age where misinformation can take on viral-like properties courtesy of the internet.
Cutting effortlessly between multiple storylines, Soderbergh keeps things unpredictable by being as ruthless as the virus when it comes to culling his A-list cast: above-the-title billing and ownership of an Academy Award is no guarantee of survival come the end credits.