The trailer for the new crimethriller, “Side Effects,” could lead one to believe that this film is an exposé of Big Pharma wrapped up as entertainment. Nothing could be further from the theme of this film. Big Pharma wrongdoing isn’t even the backdrop. “Side Effects” is about something entirely different. While on experimental new anti-depressants, Emily (Rooney Mara) commits murder as she sleepwalks. Or does she? But getting to the bottom of “whodunit” still isn’t what the film is about. Emily’s husband, Martin (Channing Tatum), has just been released from prison for insider trading. Emily should be thrilled that they’re together again, but depression is eating her up. Her depressive behavior is ruining both their lives, and Emily is always teetering on the brink of suicide. She is in the care of psychiatrist Dr. Banks (Jude Law), who is responsible for administering the experimental drug to her. Everyone is kind and patient with Emily until the killing changes everything. Will Emily be charged with the crime? Or will she be declared insane and be locked up? Will Dr. Banks be incriminated? Emily’s former psychiatrist, Dr. Siebert (Catherine Zeta-Jones), complicates the proceedings as a third party with her own interests in the case. The film begins in a quiet and understated manner. After the death, things heat up and there is a believable, revelatory plot twist approximately every five minutes (a mark of excellent filmmaking — very hard to do without excessive explanation, and “Side Effects” succeeds so well at it). We have to pay keen attention, but when we do, we are rewarded every five minutes. The plot twists double back on themselves, rather than introducing bigger and wilder outside characters, information or action — also a mark of excellence in visual storytelling. “Side Effects” is a well made and entertaining film with top-notch filmmakers and actors. Steven Soderbergh directs, and the score is by the highly-acclaimed Thomas Newman. Screenwriter Scott Z. Burns crafts amazingly succinct and subtle dialogue that is both deceptively mundane (for credibility) and fresh (for our enticement) at the same time. The element of surprise is strong, and it becomes impossible to guess how things will turn out. It’s difficult to say more about this film without giving away too much. It just has to be watched — not experienced — we are definitely observers here. The ending is exceedingly neat and tidy, but the great question raised is: “Can we always act rightly, even when dealt a dirty hand? Or is the only way to prevail to become like those who harm us?”