In light of the COVID-19 pandemic, many people are interested in the films Contagion (2011), directed by Steven Soderbergh, and Outbreak (1995), directed by Wolfgang Petersen. Both movies represent either an outbreak or pandemic, much like the scenario we are going through right now. Contagion is obviously a pandemic scenario, so it is more similar than Outbreak to COVID-19. The film Outbreak, as the title indicates, depicts an outbreak scenario.
As I am reviewing two movies, I will split this review up into two sections. For further clarification, I will still make note between the two movies as a cross-reference. I also want to note that most of the flaws in the movies were not intrinsically in the plot. Most of the flaws seemed to be in the actor’s presentation or mannerisms while in specific settings.
You may have noticed by now that I am a fan of Netflix. That is partially because a number of years ago I cut the cord and realized paying $100 a month for cable that I mostly scrolled through was futile. More often, though, I find that Netflix seems to have a knack for either finding or producing compelling original gems, both in standalone movies and series that can entertain us for years. One of their most recent films, The Laundromat, provides an entertaining and horrifying glimpse into the tangled web of financial scams that spans the globe.
While the film often strikes a whimsical tone, it is an embellished and over the top version of events related to the very real Panama Papers scandal. In short, a law firm based in Panama, Mossack Fonseca, helped thousands of wealthy and questionable clients shelter money in offshore accounts and shell corporations. The intricate connections among individuals and dishonest businesses lead to a kind of domino effect that hit small businesses and individuals alike.
In spite of enjoying a successful career throughout the first decade of the new millennium, acclaimed director Steven Soderbergh announced in 2012 that he would be retiring from filmmaking. This declaration didn’t last very long, as he returned from his hiatus just five years later with the very fun and underappreciated NASCAR heist thriller, Logan Lucky. While this was a definite return to form for the Academy Award-winning director of Traffic, Soderbergh’s second comeback feature, Unsane, isn’t nearly as successful.
Unsane (which is actually quite an awful title for a film) was created in secret sometime last year, having been shot entirely using iPhone 7 Plus cameras. And it is probably in this way that Unsane is most intriguing; not because of the narrative the film itself offers, but because of the bizarre story behind its unorthodox production. While Unsane may be rightfully billed as a psychological horror-thriller, the end result produces very few thrills, and the horrors that it retains are likewise disappointing.