The “crime scene” in the quick check: bitter pills from Zurich

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The “crime scene” in the quick check
Bitter pills from Zurich

By Julian Vetten

A suspected pharmaceutical scandal, unscrupulous lawyers and tough detectives with heart form the basis for the fourth “crime scene” from Zurich. Read here whether there is an exciting case behind the accumulation of clichés.

What is happening?

Their fourth case together leads Zurich detectives Ott (Carol Schuler) and Grandjean (Anna Pieri Zuercher) on the trail of a drug scandal. The trigger is the murder of star lawyer Corrinne Perrault (Sabine Timoteo), who represented the emerging pharmaceutical company Argon at the launch of a new and extremely expensive miracle pill called Volmelia. The drug is intended to help patients with the autoimmune disease NMO, but is suspected of worsening symptoms after therapy.


Office boss Widmer (Theresa Affolter) impersonates an unscrupulous lawyer.

(Photo: SRF / Sava Hlavacek)

Apparently this is also the case with Klara Canetti (Anouk Petri), who has been in a wheelchair since the treatment with Volmelia. Her mother Dorit (Annina Butterworth) desperately tries to prove that the drug caused the complications. Meanwhile, Argon fears the pill will not be approved and wants to stop the Canettis. But at what price?

What is it really about?

There is no second level in “Risks with Side Effects”, the film delivers exactly what it promises: a pharmaceutical thriller by formula.

Zap moment?

There are some. Definitely in the foreground: Grandjean’s rap interludes are guaranteed to embarrass others and the desperate attempts to portray the canton police IT expert as a funny sidekick.

Wow factor?

The pictures of Lake Zurich are really beautiful to look at. Overall: The camera is doing well in this “crime scene”.

How are you?

5 out of 10 points. “Risks With Side Effects” delivers 90 minutes of investigative work between cool skyscrapers (the pharmaceutical company), wood-panelled mansions (the law firm), and gray apartment buildings (the victims of the pharmaceutical industry). The narrative paths are just as well-worn as the visual ones: the film tries again and again to loosen the classic David-versus-Goliath structure with a few perspective changes, but it succeeds badly rather than well.

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