The supposed final directorial effort of Steven Soderbegh, huh? That’s neither likely true nor obviously false, but it’s also neither here nor there. Right now, Side Effects can stand on its own as a deliciously twisty, proudly old-fashioned, passionately constructed thriller that works largely because it’s having so much fun working us over. It’s a cinematic screw-over, and in this regard, like many others, it’s quintessential Soderbergh, and one more reminder that the famously eclectic, genre-hopping director really does have a very particular aesthetic after all. That this aesthetic is sometimes “not having an aesthetic for the sake of experimentation and letting the wind of the film follow through on whatever I want to do at this particular point in time” only makes him all the more fascinating.