Top 25 Songs and Films of 2013 (5-2) (With Top 40 Albums of 2013)

This is my penultimate list of the best songs and movies of 2013. Before I issue those favourites, here is a lightning quick rundown of my Top 40 Albums of 2013:

1) Vampire Weekend – Modern Vampires Of The City; 2) Chvrches – The Bones Of What You Believe; 3) Paramore – Paramore; 4) Sky Ferreira – Night Time, My Time; 5) Biffy Clyro – Opposites; 6) Cold War Kids – Dear Miss Lonelyhearts; 7) Daft Punk – Random Access Memories; 8) Shad – Flying Colours; 9) Queens Of The Stone Age – …Like Clockwork; 10) Arcade Fire – Reflektor; 11) Neko Case – The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You; 12) Surfer Blood – Pythons; 13) Phosphorescent – Muchacho; 14) Foals – Holy Fire; 15) The 1975 – The 1975; 16) Lady Gaga – Artpop; 17) Yeah Yeah Yeahs – Mosquito; 18) Lorde – Pure Heroine; 19) Arctic Monkeys – AM; 20) Charli XCX – True Romance; 21) Bastille – Bad Blood; 22) Tegan & Sara – Heartthrob; 23) One Republic – Native; 24) Kanye West – Yeezus; 25) Placebo – Loud Like Love; 26) The Neighbourhood – I Love You; 27) The Joy Formidable – Wolf’s Law; 28) The Knife – Shaking The Habitual; 29) Blue October – Sway; 30) Britney Spears – Britney Jean; 31) Miley Cyrus – Bangerz; 32) Major Lazer – Free The Universe; 33) Panic! At The Disco – Too Weird To Live, Too Rare To Die!; 34) City and Colour – The Hurry And The Harm; 35) Frightened Rabbit – Pedestrian Verse; 36) Valleys – Are You Going To Stand There And Talk Weird All Night?; 37) Stereophonics – Graffiti On The Train; 38) Goldfrapp – Tales Of Us; 39) Jon Hopkins – Immunity; 40) Jimmy Eat World – Damage.

Before I issue my top 5 songs and films, here are a few random awards I’d like to dole out to 2013 films:

Best Performance In An Otherwise Lacklustre Film – Jim Carrey, The Incredible Burt Wonderstone

Best Cameo – Will Ferrell, The Internship

Scariest Use Of Product Placement – Google, The Internship

Reddest Beard On A Dude You Wouldn’t Expect To Have One – Michael Fassbender, 12 Years A Slave

Worst Oral Hygiene – Leonardo Di Caprio, Django Unchained

Best Pimp Walk/Example Of An Actor Who Won’t Change How He Carries Himself Under Any Circumstance – Charlie Hunnam, Pacific Rim

Best Use Of Sequins: Michael Douglas, Behind The Candelabra

Best Hair/Best Jewellery: Matt Damon, Behind The Candelabra

Best Use Of Song: James Franco, singing Britney Spears’ “Everytime”, Spring Breakers

In case you’re wondering what “WAR value is” click here:

Here are my Top 5 Songs and Films of 2013 (5-2):

(NB: I finally saw Fruitvale Station, and Michael B. Jordan’s performance was a master-class in acting. If I’d have seen it in 2013, it would be in my top 5 films of the year. It’s a must-see movie.)

5. Phosphorescent – Song For Zula (WAR value: 9.5)

“Song For Zula” is the most heart-wrenching tune of 2013. It’s a masterpiece. It’s the best track Matthew Houck’s ever done. “Song For Zula” is a restrained wonder. A steady, sad, imprisoned song. The strings are sooooo bloody good. With no chorus, the song never loses sight of its soul. Its cell is small, but its attempt to free itself is massive. The song ebbs in and out of light, flowing through darkness on its melancholic, melodic journey. The song is rife with lyrical lynchpins of love and its like: “See the cage it called. I said come on in. I will not open myself up this way… again,” and “But my heart is wild, and my bones are steel. And I could kill you with my bare hands if I was free.” A deep irony pervades: “Song For Zula” is trapped, scarred, burned by love, but the honest, gorgeous expression of these horrors is a catharsis, revelation, freedom. By the time it’s over, it’s no longer just Zula’s song, it’s everyone’s.


Prisoners (WAR value: 8.0)

Prisoners was absolutely riveting, a “what would you do to save your family” thriller of the highest order. Hugh Jackman was incredibly good as a father who pushed his moral compass to the limit. It’s the best I’d ever seen him. Paul Dano is a fantastic actor, and was eerie to the Nth degree here. The Canadian director, Denis Villenueve, did a fantastic job dousing this film various shades of greys, with the cinematography and the tone, in its sadness and in its message. I was held captive from beginning to end by Prisoners.

Link between “Song For Zula” and Prisoners:

The sadness. The greys. The feeling of helplessness. The doing everything within reason, and more importantly, outside of it, to get back what is a fundamental right, the reason for the fight: freedom.


4. The Vaccines – Everybody’s Gonna Let You Down (WAR value: 9.9)

Eminently enjoyable. Luxuriously listenable. Earth-shattering earworm. “Everybody’s Gonna Let You Down” is all of these things. That guitar riff is my favourite of the entire year. It forms a sensational series of hooks. This is the best song the extremely underrated London quartet has ever done. Lead singer Justin Hayward-Young sounds restrained but seething. This might be the smoothest song of the year. I couldn’t stop listening to it. “Everybody’s gonna let you down,” but this song hasn’t, and I don’t believe it ever will.


Gravity (WAR value: 9.0)

There had never been a movie that looked liked Gravity before. It may be some time before one looks like it again. It’s hard to judge the story — after some consideration, I think it was a good, probably not great plot — when the visuals look so real, so captivating, so awesome. Alfonso Cuaron is a brilliant director. His filmography, particularly Pan’s Labyrinth, Children of Men, and Harry Potter and The Prisoner of Azkaban prove this, but this may be his finest work in terms of sheer imaginative gall. I’d heard Cuaron tell of wanting to do a “space” movie for many years; I’m glad he waited until special effects caught up to his imagination. There is a cold, peaceful beauty about the “space” that Cuaron created here. Gravity’s pull is unrelenting.


3. Vampire Weekend – Ya Hey/Hannah Hunt (WAR value: 10.0)

Ya Hey

“Ya Hey” holds a special place in my heart. I adore Ezra Koenig’s lyric, his delivery, Rostam Batmanglij’s music. I’m so impressed with how Vampire Weekend began their story (on their impressive eponymous debut) and how they’ve continued to tell it (on what I consider the best album of 2013, Modern Vampires of the City). Musically, I think they could very well be the most inventive, creative band on the planet. They’re strange and likeable, qualities embodied by the thrilling, wondrous gem that is “Ya Hey”. For a while, I couldn’t listen to this song without getting goosebumps from the line, “Through the fire and through the flames, you won’t even say your name, only I am, that I am.” “Ya Hey” is an exposition of faith, a dialogue with the mystic, a hymn to heaven. All of this, but it joyously avoids preaching. Such is the beauty of Ezra’s tone and lyric, and their familial connection to Rostam’s music.

Hannah Hunt

It would be easy to assume that no song could match the power of the talismanic “Ya Hey”. Normally, this would be true, of other bands, of other albums. But this is Vampire Weekend, and they are different. So is “Hannah Hunt”. It doesn’t seek the light like “Ya Hey”. It’s content to take turns, basking in a small piece of the sun one moment, serenading the coolness of shade the next. I think the music and lyric are wonderful, but what makes the song for me, what makes the hairs on my neck stand, is when Koenig sounds like I’d never heard him before, singing as if nothing else in the world could matter more (at 2:59): “If I can’t trust you then dammit Hannah, there’s no future, there’s no answer. Though we live on the U.S. dollar, you and me, we got our own sense of time.” Ezra and Hannah may have their own sense of time, but I can’t help but get lost in it. Over and over and over again.


12 Years A Slave (WAR value: 9.5)

12 Years A Slave was not an easy movie to watch. But it was spectacularly acted, particularly by Chiwetel Ejiofor, Michael Fassbender, Lupita Nyong’o, and Alfre Woodard, and beautifully shot by Steve McQueen. The horrifying reality depicted in the plot is juxtaposed with a creepy, almost calm sense of dread, of malice that lingers in the sun-strewn fields and pretty white houses. This contrast made the film an unsettling triumph. Seemingly everyone and everything in this movie told a story: a whisper in the wind, a tear-drowned eye, a blood-soaked back, a bead of sweat. This is a story of endurance, telling, I think, of how it will be viewed in the future. This film will linger in the hearts and minds of many for a long while. It deserves to.

12 Years A Slave

2. Chvrches – The Mother We Share (WAR value: 10.5)

The plainest way I can put it is that “The Mother We Share” is the best pop song I’ve heard in ages. I heard it very early on in 2013, and it stayed a gargantuan powerhouse right through the end of the year, even as it began to be heavy rotated on all manner of radio stations. Atypical of most songs, it didn’t lose any lustre when played and played again. In fact, I think it gained something. The music is perplexingly perfect, so pristinely produced, so preened and polished. And that chorus. My God, that chorus. I can’t be 100% sure — the music too big to be measured by human tools — but my best guess is that the chorus contains 1.7 trillion hps (hooks per second). Let it be known that this is a conservative estimate. Lauren Mayberry’s vocal is downright tremendous. Her soft, pure, sirenesque voice mixes magically with the music. The lyric, especially for a pop song, is smart and contemplative. Who’s mother do we share? I think the point is to wonder. The combination of music, voice, and lyric is a shrine to nostalgia, a throw-down to everything else in music right now, and a vision of the future.

I was flabbergasted by the quality of Chvrches’ debut album. It’s clear these musicians are preternaturally gifted, and even still, they hit the jackpot with the collection of songs that comprised their first LP. And even though their talents are bulging at the seams, and even though they’ve just begun what’s hopefully a long career in music, I feel like they’ll never top “The Mother We Share”. And you know what? That’s okay. Sometimes a band releases the best they’ll ever do the first time around. It happens more than we realize. The band has already gifted the world with what I think will go down as one of the songs of the decade. This is pop music at its absolute peak. The air here is rarified, clean, and fresh. The sound here is immaculate, supportive, and free. Life here is great.


The Place Beyond The Pines (WAR value: 9.9)

I revere this film. Director Derek Cianfrance is a relatively new filmmaker, but he’s already one of my favourites, and one with an incomparable style. I say this having seen only two of his movies, the heart-breaking Blue Valentine and this, the torrential, towering triptych, The Place Beyond The Pines. His style, ability to say something even in silence, wizardry with tone and eye for cinematography make him a very special artist. Cianfrance also handles his cast beautifully, and directed some fantastic performances here. The supporting cast were brilliant, particularly the chillingly cold Ray Liotta, the devastating Ben Mendelsohn, and the anchor-leg runner, Dane DeHaan. All that, and the leads were all great too. Bradley Cooper was on fire (as he has been for the past couple years), and the performances by Eva Mendes and Ryan Gosling were sterling. (I like Gosling in pretty much everything — such is his charm — and right now, I’d rank his top 3 performances: 1) Blue Valentine; 2) The Place Beyond The Pines; 3) Drive. Semi-tangent: I can’t even begin to qualify how much better a love story Blue Valentine is than the rote blandness that is The Notebook.)

There’s something magical about The Place Beyond The Pines that doesn’t happen often in movies. There are feelings I have about this film that I can explain, and there are some that I can’t. I love that this film does that to me; I believe the best art elicits that type of duality.

The Place Beyond The Pines

Top 25 Songs and Films of 2013: (15-6)

For an explanation of the WAR value next to each song and movie, see the previous post, my Top 25 Songs and Films of 2013 (25-16) or click here,

Here are my Top 25 Songs and Films of 2013 (15-6):

15. Kings of Leon – Supersoaker (WAR value: 7.0)

It’s not just that I wasn’t over the moon for “Supersoaker” when I first heard it, I really didn’t like it. I thought it was an odd choice for a lead single — the wrong choice. Man alive was I misguided. I think I changed my mind sometime after I’d heard the track for the tenth time. Its wonder and greatness unfurled to me like a flower exposing itself to the warmth of spring. It was a risky but brilliant choice as a lead single. It sounds modern yet classic. Caleb Followill’s vocal is fantastic. The production is flawless. And the line, “I don’t mind, sentimental girls, sometimes…” kills. “Supersoaker” is far and away the best song on their latest LP, Mechanical Bull, and one of the best songs they’ve ever done.


The Conjuring (WAR value: 5.0)

The Conjuring was legitimately frightening with twists and turns aplenty. The rare horror film that’s scary yet fun to watch. An impressive directorial effort by James Wan, who used a game cast to delicious effect.


14. The 1975 – Sex/The City (WAR value: 7.3)


I prefer this original version to the newer, slightly massaged version. There’s something a little more free about this one. It breathes better. “Sex” is rife with passion. It’s desperate, uncomfortable, energetic, and it sounds so bloody good. It sounds undeniably of the present. It seems like the musical hooks number in the thousands, and even still, there are more. I haven’t seen this band live yet, but I’m willing to bet a large sum that the line “she’s got a boyfriend anyway” is sung with rapturous vitality at their shows. “Sex” announced that The 1975 are interested in filling arenas in the near future.

The City:

Where I prefer the less polished, original version of “Sex”, I prefer this, the more polished, newer version of “The City”. The mix of kick-drum-heard-on-the-moon, electric guitar plucking and pulsating, and shoe-gaze synthesizers is a titanic combination. Many other bands are employing this type of sound, but almost no others make it sound as good as The 1975. I also love how the lyric in the chorus can be heard as “the city is” or “insidious” depending on what you want to hear. Neat trick. This band is up to some really big things.


Pain and Gain (WAR value: 5.1)

Here is where I retract my earlier statement about Michael Bay. Sure, he can make bloated films that seem to coast by on action-by-numbers, things breaking, blowing up, and the like. Pain and Gain has some of that, but it’s also extremely enjoyable. Mark Wahlberg was game as the lead in this take on the pursuit of the (Performance Enhancing Drugged Up) American Dream. But by far, I enjoyed this movie most because of The Rock. Dwayne Johnson’s absolutely hilarious. I didn’t know he had this kind of performance in him. He was a riot for much of the film, at turns being loony, irrational, paranoid, and unpredictable. For me, it’s his finest acting job to date. Pain and Gain is preposterous, trashy, silly, stupid, but so damned fun.

Pain and Gain


Song-wise, I’d say the following tunes are in an echelon above everything else this past year. These are special songs…


13. Neko Case – Local Girl (WAR value: 8.0)

From time to time, I’ll mention how a band or artist sounds unique, because of their voice, lyrics, or sound. With Neko Case, I couldn’t mean the sentiment more, and it’s all of the above. No one in the world has a voice like hers, so clean, so full of force and power. Her voice sounds like a mountain having a conversation with the wind, repeated to the plains and sung for the animals. Her lyrics are one-of-a-kind, considered, literate, creative, and heart-rattling. And her sound is just as rare, an ode to the alt/country/pop of yore. The melody in “Local Girl” is absolutely, positively, stunning. Neko soars here in every way imaginable. It’s my favourite song from her of-course-it-is brilliant(ly titled) album, The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You. Neko Case is a throwback. I couldn’t be more firm in my resolve when I say I love her as an artist: her voice, music, intelligence, and creativity. For me, it’ll always be Neko Case and then everyone else.  


This Is The End (WAR value: 5.4)

This Is The End is a tonne of fun. Seeing the stellar cast play caricatures of themselves was delightful. James Franco and Seth Rogen were on point. Michael Cera was a riot. And Jonah Hill was really good too — spoiler alert — particularly in the bust-a-gut-funny scene where he’s possessed and is tied to a bed.

this is the end

12. Blue October – Sway/Bleed Out (WAR value: 8.1)

I feel close to Blue October. From the first time I heard “Hate Me”, I fell for lead singer Justin Furstenfeld’s passionate delivery and way with melody. The band hasn’t garnered the attention they deserve since that first big hit. They’re still pumping out mammoth, great-sounding, emotionally resonating alt-rock songs though, with “Sway” and “Bleed Out” being two gargantuan efforts. Both tunes contain hooks galore. They induce shivers. They tug at heartstrings. They’re beautiful songs. I can’t say enough how much I dig Blue October, and how much I love these two spectacular, emotionally invigorating songs.


Bleed Out:


The Hobbit – The Desolation of Smaug (WAR value: 5.7)

This movie looked spectacular, particularly the dwarves’ escape from elven captivity into the river. The Hobbit is one of my all-time favourite books, so I was trusting, wide-eyed and receptive to how Peter Jackson and company would visualize Tolkien’s seminal tome. Jackson did it justice, inasmuch as a movie can do a book justice. I was immersed in the world — yet again — and can’t wait to see how things wrap up in the final instalment.

the Hobbit desolation of smaug

11. Chvrches – Recover/Now Is Not The Time/Lies (WAR value: 8.3)

All three of these songs, “Recover”, “Now Is Not The Time”, and “Lies” are perfect, pristine pop songs. It’s the construction, the delivery, the sum of the sounds. Everything is bang on. I bet Chvrches were meticulous in crafting these songs. It sounds like no detail was left unconsidered. Sometimes this can make a song bland or robotic. Not here. These songs are brimming with organic life and freshness. What stunned me most was that Chvrches kept dropping hit after hit after hit. I was flabbergasted. It didn’t make sense that any band or artist could be that prolific, especially a new band like Chvrches. But after “Lies” and “The Mother We Share” came “Recover”, after which came “Now Is Not The Time”. At that point, I was seriously shocked. It wasn’t possible that a band’s first four songs could be that good. But it was happening. Then, came “Gun”, which is also fantastic, and a few months later, their debut album, The Bones Of What You Believe finally arrived. Then we were given more(!) bangers, “Lungs” and “Tether” leading the way. I’m still perplexed by how this came to be. Chvrches are the best new band I’ve heard since Future Islands. Their way with synth-pop — in an absurdly crowded field — is utterly unique, an immaculate amalgam of the past with an uncompromising and unrepeatable take on the present and future.


Now Is Not The Time:



American Hustle (WAR value: 5.8)

I enjoyed American Hustle, and I will admit that it’s, in many ways (the acting, direction, and story), an excellent film, but something’s holding me back from liking it more. The only thing I can come up is that the leads, though acted superbly, are tough to root for. When I watched it, I didn’t feel like I had a “dog in the race” so to speak. I sat down to watch it, and it experienced it without ever really pulling for anyone to come out on top. Jennifer Lawrence and Bradley Cooper were particularly good here, but they were better, and so much more likeable, in Silver Linings Playbook. I’d like to give it some time, watch it a second time to see if I still feel the same way.


10. The Boxer Rebellion – Diamonds (WAR value: 8.6)

The Boxer Rebellion don’t get enough credit. They had two dazzling songs a few years back, “Evacuate” and “Semi-Automatic”, though unfortunately, the band didn’t explode like they should have. In 2013, they came back with what’s probably the best song they’ve ever done in “Diamonds”. I was obsessed with the song for weeks and weeks. It’s the overwhelmingly sad way Nathan Nicholson delivers the vocal. It’s the opposing force of nature that is the music, shimmering guitars buoyed by steady drumming and subtle synth underpinnings. It’s the rise and fall, the simplicity of the lyrics, the drifting away, from blame, from anger, not necessarily to a place of peace, but to a place that’s just away. “Diamonds” speaks to the futility of one person’s attempt to keep a relationship from being gobbled up by expectations of progress, and literally, that sparkling signifier of a gem. Ironic, as this song is undoubtedly one of the precious jewels of 2013.


Spring Breakers (WAR value: 6.0)

All-in-all, Spring Breakers is a good movie. It’s occasionally funny and unabashedly youthful, in its confusion, energy, and wildness. The four lead girls were decent. Make no mistake though, this movie’s carried by James Franco. It looks like he had a blast playing Alien (Riff Raff, if you’d believe Riff Raff), and that was undeniably infectious. It’s my favourite James Franco performance to date, and his strangest. The Alien-singing-Britney scene is one of my favourite movie scenes of the past few years. It’s demented, sweet, frivolous, impetuous, and absurd. And it’s why Spring Break will last forever, y’all.


9. The Knife – Full of Fire (WAR value: 8.8)

“Full of Fire” is a monstrous concoction of political intent, industrial sound-sculpting, and electronic imagination. It’s a frenzy of pulse, weaponry, and skill. It’s a nine-minute tour de force in bad-assery. Karin and Olof have never sounded so vital, so in control, so angry. Shaking The Habitual, from whence “Full of Fire” comes, is a dense affair, with not nearly the amount of hooks as The Knife’s last album proper, Silent Shout. There are a few outstanding tracks, and also a 19-minute track where The Knife do everything possible to lose your interest. They’re not fighting for you to listen. That commitment is up to you. They’re way past that, fighting for something much, much bigger. The album, and “Full of Fire” as its solider in the foreground, is a left-field effort from the maybe the most left-field band on the planet. “Full of Fire” is indeed burning, and full of so much more than heat.


World War Z (WAR value: 6.1)

World War Z is reminiscent of Book of Eli and I Am Legend, but more fun than the former, and waaaay more interesting than the latter. It’s Contagion with more intrigue and more of a rooting interest. I was gripped the entire way.


8. Drake – Hold On, We’re Going Home (WAR value: 9.0)

By far, the catchiest song Drake’s ever done. It’ll be on playlists from here to eternity, which is what Drake and producer Majid Jordan had intended. Everyone intends to do something like that. Everyone would love to be a part of a song this special. It’s just such a rarity to connect on that intention. What makes the situation even more amazing is that the beat and vocal seem so effortlessly constructed and delivered. “Hold On, We’re Going Home” is a monumental pop song. (I’d be remiss if I didn’t mention part of the appeal is the subtle ode to Suzanne Vega’s “Tom’s Diner”, particularly the “duh-dah-duh-da’s.” Here’s the link to that song if you’d like to compare:


Star Trek: Into Darkness (WAR value: 6.6)

Benedict Cumberbatch is a bad, bad man. I loved so much about this film: how it looked, how the plot aligned, how it was acted. I quite enjoyed the first instalment of JJ Abrams’ reboot, but this one is warp speed beyond that one. The franchise has a great cast: Pine, Quinto, Soldana, Urban, Pegg, Cho, and Yelchin. I can’t wait to see what the next offering has up its sleeve.


7. Sky Ferreira – You’re Not The One/Heavy Metal Heart (WAR value: 9.2)

While a million-plus-one pop tarts do their tired take on dance-pop, Ferreira’s forked off and brought the rock back in pop-rock. Her sensational debut LP, My Time, Night Time, is a loud, pulsating, sexed up affair with nary a filler tune to be found. I was blown away when I first heard “You’re Not The One”. The guitar riff centres the song, simple but out-of-this world catchy. Ariel Rechtshaid’s production is flawless. When I first heard the entire album, I was floored by how consistent and immediate it was. I was hoping for the best, but sure there wouldn’t be anything to match the brilliance of the lead single. I was wrong. “Heavy Metal Heart” is a beast. Avril Lavigne can’t even dream of a song this good. Gaga would have a massive hit on her hands if this were on Artpop. The reality is, no one else has “Heavy Metal Heart” but Sky Ferreira. Even though she’s a relatively new artist, the song is invariably hers. “You make my heavy metal heart beat” is sung with such gusto, such energy, that you’d swear Ferreira’s heart is made of long, bleach-blonde hair, black leather, and power chords. Maybe it is. I wouldn’t rule anything out with this one.

You’re Not The One:

Heavy Metal Heart:


Anchorman 2 (WAR value: 6.9)

I loved this sequel. For as silly as some of the jokes might’ve been, I always got the sense that Ferrell and company were meticulous in choosing to keep the best ones. I loved David Koechner (Champ Kind). I loved chicken of the cave, even though I’ve never tried it. I loved how the team would occasionally beat jokes to death. The cameos were a lot of fun. I think it’s really tough to be consistently funny nowadays, and Ferrell, Adam McKay, et al have accomplished that here. I’d be more than down for a third instalment (although Ferrell, please do a Step Brothers sequel first, thanks).


6. Haerts – Wings (WAR value: 9.4)

I adore the funk out of this song. It was on heavy rotation from the first time I heard it. It screams 80’s. It’s right now. It’ll be around for a looooong time. It’s not simply that Nini Fabi’s vocal soars, it’s the palpable feeling of joy in being able to fly for the first time. It’s growing wings and lifting, dipping, ascending, cruising, feeling the wind course through your hair like it never has before, like it was never able to before. There is wonder in this experience. There is release. “Wings” is perfect from the first second, but if it wasn’t already so, it somehow gets even better at 3:44, when the music starts to shuffle, and birds can be seen in the distance, flying together, singing and dancing.


Side Effects (WAR value: 7.2)

If this had been released later in the year, the buzz around it would’ve been much larger. I loved the plot and the acting. There were a tonne of twists and turns, and the story is filled with deception, decoys, and ploys. It’s a meditation on the sad state of mass addiction to pharmaceuticals and the damning, horrifying prescribing of modern “medicine,” not to cure, remedy, or build health, but to suppress and sustain dependency. I liked each of the leads’ performance, but in particular, I thought Rooney Mara was fantastic. Steven Soderbergh has had a great run the past couple years and Side Effects is the best of a stellar recent bunch.

Side Effects