Contagion

Typical Soderbergh, a cold, atmospheric (music, camera filters), surgically precise film. Contagion basically imposes nothing on us, it just shows the possible origin of an infection (banality) and its consequences in the context of human infection (captivating). This is followed, of course, by other things like hysteria, looting, religious problems, ethnicity, basic needs, etc. Perhaps a slight advantage for the director is the fact that he’s working with a topic so interesting in itself that even if the film wasn’t that good, its potential to captivate would still sweep away the shortcomings. Essentially, a film that is impossible to tear away from. (01/01/2012)

Steven Soderbergh’s variation on Hollywood disaster films is conceived as the exact antithesis of all of the attributes of the classic form of this genre established by A-level studio spectacles in the 1950s and definitively codified in the 1970s. At the same time, however, the aim of the film is not to subvert the genre, but rather to come up with a form of the genre for the era of extensive availability of information, so that it can again function effectively and arouse horror and tension in the audience, as compared to Emmerich-style popcorn tripe. The necessary foundation for this is provided by Scott Z. Burns’s masterful, intelligently constructed and information-packed screenplay, which is based on scientific knowledge and experience from the epidemics of that time (and therefore greatly corresponds to the real pandemic of 2020, unlike the naïve, fantastical scenario of, for example, Outbreak). (16/05/2020)

Oh, shit! No more shaking hands with strangers... To the point, perfect craftsmanship. It documents the course of the infection in rather a minimalist manner and the life stories of people just happen by the by, and a chain reaction occurs that leads to others being infected. Surefire sterility is augmented by the music too. The literally disgusting Jude Law enjoys his role and Matt Damon is pleasantly civilian (there are no small roles). I was a little disappointed by the sloppy ending (even though it’s probably nearer reality), Contagion had greater potential. (17/12/2011)

People will always wonder why I'm terrified of public transport, that I don't touch any of the handrails and every coughing person scares me, and that I wash my hands more thoroughly than a doctor before entering the operating room. All credit to you, Steven Soderbergh, you did it. A virus lurks around every corner, a simple handshake or use of a credit card becomes a mortal danger, tens, hundreds, thousands and hundreds of thousands of people die... And I'm not bored by any of it. Contagion is actually a classic disaster film, of which there used to be many. Just like When Time Ran Out, The Towering Inferno, The Swarm and others, this film is full of familiar faces who (understandably) attract the audience but also do a disservice to the script. Thanks to their performances, we are in fact interested in those characters who would otherwise be completely ordinary, and it doesn't matter that none of them is the main character. The plot, which unfolds according to the expected pattern (contagion-dying-antibodies-question mark), looks mundane, but also feels pleasantly dramatic and somehow heavy thanks to the cold and unsettling direction, cinematography and music. It's a great pity that Contagion isn't at least half an hour longer. The sophistication of the story and the characters would certainly have benefited from it, and the film would perhaps have gotten rid of the somewhat rushed ending. Otherwise, there is nothing to complain about. (18/02/2012)

For a thriller, there is not enough escalation, for a drama, there is not enough room for characters, and for a pseudo-documentary, there is too much casual presentation of empty "facts". The half-heartedness that protrudes from every other scene is sometimes unbearable, making Soderbergh a regular unlucky one. As a pure popcorn movie filled with tension, Nákaza could have scored much more forcefully, but this way, the creative intention completely missed its mark. (01/01/2012)