Set in a futuristic, climate-ravaged world, the film revolves around a performance artist and his surgeon collaborator/lover as they stage shows to showcase the evolution of internal organs as they’re asked to take part in a project involving an autopsy with political and social implications. It’s a film that explore an underground subculture as people go to these shows to see people embrace inner beauty in a literal sense as well as see a growing evolution into the human anatomy. David Cronenberg’s screenplay definitely play into a future where food resources are becoming scarce while the human body begins to evolve as some can eat normally but others have to eat different things. Pain is something that no longer exists as Saul Tenser (Viggo Mortensen) sleeps on a special bed to check on his organs while eats on a chair that is mechanical as he struggles to feed himself sometimes. His lover/collaborator Caprice (Lea Seydoux) is a former surgeon who helps in the performances by cutting aspects of his body and narrating it as it attracts the attention of a couple of investigators for the National Organ Registry in Timlin (Kristen Stewart) and Wippet (Don McKellar).
Timlin and Wippet are fascinated by Tenser’s show with the former wanting to get closer to Tenser while the latter is hoping to have Tenser be part of something bigger as it relates to the government. Yet, there is another person interested in the work that Tenser and Caprice are doing in an underground cult leader in Lang Doctrice (Scott Speedman) who wants them to perform an autopsy on his son who had been killed by his ex-wife Djuna (Lihi Koronowski). It all play into Doctrice’s fascination with human evolution as he wants to use Tenser’s profile to display a message though Tenser is unsure as he would have secret meetings with a detective named Cope (Welket Bungue) about what is going as Cope is investigating what Wippet is doing.
Cronenberg’s direction definitely bear elements that he is known for from past films that relate to the world of body horror yet it is presented in a more grounded idea of reality based on a world ravaged by climate change and physical evolution within the body. Shot on location in areas near Athens, Greece as this world that is seemingly in ruins as much of the film is shot in abandoned buildings. Cronenberg would use some unique wide shots to establish these locations that would include abandoned boats on the shore and buildings where many events occur as he would use wide and medium shots to get a scope into what people are witnessing. Notably as Cronenberg would create these shots that gaze into the activities that Tenser would do in public with Caprice at his side such as the images of him pulling an organ and revealing something. The world of body-horror would include a man filled with ears around his head, arms, and torso as he does a dance while a beautiful woman would get scars on her forehead and such to express her own ideas of pain.
Cronenberg would also emphasize on this idea of evolution as it relates to the fact that food resources become scarce as those with unusual evolution in their bodies are forced to eat something else as they struggle to eat with the machines they use. The film does open with a young boy sitting on a rock at the beach as he would later eat a plastic wastebasket as it would play into the underground subculture that Doctrice is involved in. There are also some close-ups that Cronenberg play into as it also play into the body mutilation that Tenser and Caprice would involve themselves in with people cutting themselves for sexual or personal pleasure with some trying to get that feeling of pain again. The film’s climax does involve this big event but also play into this idea of evolution where a lot is on the line as well yet there is also something personal from those involved. Even as it play into the need of trying to find meaning through this internal evolution in the body and soul. Overall, Cronenberg crafts an eerie and disturbing film about humanity’s obsession with inner beauty and its evolution.
Cinematographer Douglas Koch does brilliant work with the film’s cinematography with its emphasis on low-key lighting for many of the nighttime interior/exterior scenes as well as using natural lighting for some of the daytime interior/exterior scenes. Editor Christopher Donaldson does excellent work with the editing as it does have bits of style yet it manages to let shots linger on to play into the horror and suspense. Production designer Carol Spier, with set decorator Dimitra Sourlantzi plus art directors Dimitris Katsikis and Kimberley Zaharko, does incredible work with the art direction from the design of the beds, chairs, and chambers Tenser uses for his show and at his home as well as objects that are used for the shows. Costume designer Mayou Trikerioti does fantastic work with the clothes that some of the characters wear such as the black robe that Tenser often wear as well as some casual-looking clothes that the other characters wear except for some stylish work in some of the performance shows.
Prosthetics special makeup effects designers Alexandra Anger and Monica Pavez do amazing work with the design in some of the prosthetics and make-up design in how some of the performance artists present themselves as it is a highlight of the film. Special effects supervisor George Alahouzos and visual effects supervisor Peter McAuley do terrific work in making sure some of body parts look real in some bits as well as in the movement in some of the arms in Tenser’s machine. Sound designers Rob Bertola and Tom Bjelic, with sound editor Jill Purdy, do superb work with the sound in the way some of the machines sound as well as some sparse moments that help play into the drama and suspense. The film’s music by Howard Shore is phenomenal for its haunting electronic-based score that is driven mainly by synthesizers to play into the suspense and horror as well as creating some original electronic pieces for some of the performance art pieces.
The casting by Deidre Bowen and Stavros Raptis is wonderful as it feature some notable small roles from Sozos Sotiris as Doctrice’s son Brecken, Ephie Kantza as a curator who gives Tenser a card that relates to Doctrice, Tassos Karahalios as the performance artist Klinek whose body is filled with ears, Denise Capezza as a performer who has scars all over her body, Jason Bitter as Doctrice’s assistant, Lihi Kornowski as Dotrice’s bitter ex-wife Djuna, Tanaya Beatty and Nadia Litz in their respective roles as Berst and Dani as two women who work for the manufacturers of Tenser’s bed and objects who are big fans of his work, and Welket Bungue in a superb performance as a detective who asks Tenser to find out what Doctrice is up to while is becoming suspicious into the activities from both Wippet and Timlin. Scott Speedman is fantastic as Lang Doctrice as an underground cult leader who believes his dead son is key to a future as it relates to human evolution while also battling a government who wants to prevent all of this from happening.
Don McKellar is excellent as Wippet as an investigator for the National Organ Registry who is fascinated by what Tenser does as he wants him to be part of a pageant as well as be someone who can be the face for the government. Kristen Stewart is amazing as Timlin as an investigator for the National Organ Registry who is more fascinated with Tenser as a person as well as wanting to be his collaborator as she believes that surgery is the new sex. Lea Seydoux is incredible as Caprice as Tenser’s collaborator/lover who makes sure he’s well and also narrates the performances while lamenting over the project they’re about to embark on as well as wanting to be part of the culture that celebrates human evolution. Finally, there’s Viggo Mortensen in a phenomenal performance as Saul Tenser as a man who grows new organs in his body as he deals with his physical changes from the inside while also working with a detective in uncovering Doctrice’s activities where Mortensen brings a restrained approach to his performance.
Crimes of the Future is a phenomenal film from David Cronenberg that features great performances from Viggo Mortensen, Lea Seydoux, and Kristen Stewart. Along with its ensemble cast, study of human evolution and its search for meaning, eerie visuals, and a mesmerizing score by Howard Shore. The film is definitely Cronenberg not just returning to his roots but using the genre he helped create to study the idea of humanity and their need to feel in a troubled future. In the end, Crimes of the Future is a sensational film from David Cronenberg.
David Cronenberg Films: Stereo - Crimes of the Future (1970 film) - Shivers - Rabid - Fast Company - The Brood - Scanners - Videodrome - The Dead Zone - The Fly (1986 film) - Dead Ringers - Naked Lunch - M. Butterfly - Crash (1996 film) - eXistenZ- Spider - A History of Violence - Eastern Promises - A Dangerous Method - Cosmopolis - Maps to the Stars
The Auteurs #26: David Cronenberg: Pt. 1 - Pt. 2
© thevoid99 2022
Directed by David Cronenberg and written by Bruce Wagner that is based on his own book Dead Stars, Maps to the Stars is a story set in Hollywood revolving around an aging actress dealing with her career as well as the presence of her late mother while a therapist tries to get his young son to return to the world of celebrity culture. A film that explores the world of celebrity and its emphasis on Western culture, it’s a film that is satirical as well as having commentary on a world lost in fame. Starring Julianne Moore, John Cusack, Mia Wasikowska, Robert Pattinson, Olivia Williams, Evan Bird, and Sarah Gadon. Maps to the Stars is a visceral and ominous film from David Cronenberg.
The film is an exploration into the world of fame and celebrity culture through a multi-layered narrative involving a young child star trying to return to the world of celebrity culture while an aging actress copes with painful memories as she is haunted by the presence of her late mother. It’s a film that plays into people trying to be part of a culture where there’s a lot of expectations and demands in order to succeed. At the middle of this is a young woman named Agatha (Mia Wasikowska) who arrives from Florida as she would work for the aging actress Havana Segrand (Julianne Moore) as an assistant. Segrand is coping with demons as she seeks the help of self-help therapist Dr. Strafford Weiss (John Cusack) whose son Benjie (Evan Bird) is a teen child-star that is trying to remain sober while dealing with the pressures of stardom as he endure strange hallucinations.
Bruce Wagner’s screenplay definitely plays into not just people’s desire to wanting to make it in Hollywood but also how far they will go to the point that they lose elements of their sanity as well as their own identity. While Agatha is just an outsider who would befriend a limo driver named Jerome (Robert Pattinson) who is trying to make as an actor and a writer. She is someone that manages to have some connections to be part of that world yet is more of an observer who has an element of innocence but with a dark edge as she wears gloves and lots of clothes as she is a burn victim with a past of her own. By working for Havana Segrand, she gets access to the world of productions and places but is also aware that there is a lot more going on. Especially as Havana is a woman living in the shadows of her late mother Clarice (Sarah Gadon) who was a famous star until she died of a car crash when Havana was a child.
In the hopes to star in a remake of a film that her mother did years ago, Havana is hoping for a comeback but Clarice’s presence haunts her. By going to Dr. Weiss, she tries to exercise her demons as well as get a role in order to fulfill her own ego. The Dr. Weiss character is also a representation of egotism as he is a man that is making money through is own self-help books as well as exploit his own son while his wife Cristina (Olivia Williams) is Benjie’s manager as she does whatever to get him a part in a sequel for a film that made him a star. Benjie however, is struggling with trying to stay sober as well as be out of the public eye as he is succumbing to peer pressure as well as the need to be this teen sensation as he starts to see strange hallucinations involving the dead. It’s a film that features a lot of characters who are despicable while the Jerome character is the most normal as he is also an outsider who is just trying to get his break no matter how humiliating things are. Though there’s aspects of Jerome that makes him unsympathetic, it’s only because he has to do things in order to be part of this very turbulent and troublesome world.
David Cronenberg’s direction is very mesmerizing for the way he depicts the world of Hollywood as this place of conformity and expectations that seem unreal. While a lot of it is shot in Los Angeles and Hollywood with a few interior scenes set in Toronto, it does play into a film that has a very warped view of what Hollywood is as many of the characters, with the exception of Agatha and Jerome, live in these spacious mansions and are invited to the biggest parties around. While there’s some wide shots in the direction, much of Cronenberg’s approach to the compositions are simple in terms of close-ups and medium shots. Especially in scenes involving Agatha where her close-ups play to how she looked with her burned scars around parts of her head to play into a sense of realism that she has while everyone in Hollywood is trying to look young or be part of that culture.
The direction is also full of dark humor that plays into aspects of satire such as the commercials that Dr. Weiss has as well as his approach to therapy which is quite odd. Even as it’s clear that he’s just a man that will do anything to be famous and use his son’s stardom to become famous. Once there’s some revelations about his own past as well as his family starts to emerge, it adds to the sense of drama that emerges as well as to the issues that Havana is going through. Havana’s story has elements of surrealism as it relates to the presence of her own mother which is similar to the hallucinations that Benjie would go through. All of which play into demons that they face with Agatha being caught in the middle as this observer as she is connected to these people in some ways while keeping herself at a distance. Overall, Cronenberg creates a very captivating yet harrowing film about celebrity culture and people dealing with their demons in that world.
Cinematographer Peter Suschitzky does brilliant work with the film‘s cinematography to play into the sunny look of the locations in Hollywood along with some straightforward lighting for some scenes at night including some of the interior shots. Editor Ronald Sanders does excellent work with the editing as it‘s straightforward while using some unique rhythmic cuts to play into some of the surreal moments of the film. Production designer Carol Spier, with set decorators Sandy Lindstedt and Peter P. Nicolakakos and art directors Edward Bonutto and Elinor Rose Galbraith, does fantastic work with the look of the homes of the Weiss family as well as Havana to play into their personalities as well as the offices to showcase that world of celebrity culture.
Costume designer Denise Cronenberg does terrific work with the costumes from the long leather gloves that Agatha wears to the different array of clothes that the other characters wear as it‘s very posh in its look. Visual effects supervisor Jon Campfens does nice work some of the film‘s minimal visual effects which includes a chilling scene late in the film that plays to the drama. Sound editor Michael O’Farrell does superb work with the sound to play into the atmosphere of the party scenes as well as the smaller moments such as the screams that Havana would endure in her moments where she‘s tested. The film’s music by Howard Shore is amazing for its mixture of somber orchestral music with a mixture of eerie electronic pieces that play into the sense of dread and dark drama that looms over the film.
The casting by Deirdre Bowen is phenomenal as it features some notable small roles from Carrie Fisher as herself, Jayne Heitmeyer as a rival actress of Havana, Domenic Ricci as that woman’s son, Kiara Glasco as a young girl Benjie visits at the hospital as she would haunt him later on, Gord Rand as a director that Havana hopes to work with, Sean Robertson as a young co-star of Benjie whom is seen as a threat, and Dawn Greenhalgh as Havana’s agent who tries to get Havana the role that she is coveting. Sarah Gadon is terrific as the ghost of Havana’s mother Clarice who is a manifestation of the bad memories that Havana has. Olivia Williams is superb as Benjie’s mother Cristina who also manages her son’s career as she tries to make sure he stays sober while dealing with some demons of her own. Robert Pattinson is excellent as Jerome as a limo driver that Agatha befriends as he tries to make it as an actor/writer as he tries to find ways to make it where he does things that he knows he isn’t proud of.
Evan Bird is brilliant as Benjie as this teen sensation trying to cope with fame and the need to be sober as he also deals with strange hallucinations that play into his fascination with death. John Cusack is amazing as Benjie’s father in Dr. Strafford Weiss as this self-help therapist who is trying to become famous while doing whatever to make sure his son stays famous as he’s a really despicable character. Mia Wasikowska is remarkable as Agatha as this young woman with burned skin who arrives to Los Angeles with some mysterious motives as she finds herself fascinated by celebrity culture as she works for Havana while dealing with things about herself as it’s a performance that is quite engaging but also very dark. Finally, there’s Julianne Moore in an incredible performance as Havana Segrand as this aging actress that is desperate to make a comeback while coping with issues as there’s a sense of vanity and smugness in Moore’s performance that is mixed with high-levels of insecurities as it’s Moore in one of her best performances to date.
Maps to the Stars is a rapturous yet exhilarating film from David Cronenberg. Armed with a great cast led by Julianne Moore and Mia Wasikowska as well as very unique insight into the world of celebrity, its culture, and all of the trappings of fame. Especially as it’s a film with some revelations about people and twists and turns that showcase how much people are willing to sacrifice to be adored only to fall apart by their own undoing. In the end, Maps to the Stars is a riveting and tremendously haunting film from David Cronenberg.
David Cronenberg Films: Stereo - Crimes of the Future - Shivers - Rabid - Fast Company - The Brood - Scanners - Videodrome - The Dead Zone - The Fly (1986 film) - Dead Ringers - Naked Lunch - M. Butterfly - Crash - eXistenZ - Spider - A History of Violence - Eastern Promises - A Dangerous Method - Cosmopolis - Crimes of the Future (2022 film)
The Auteur #26: David Cronenberg: Pt. 1 - Pt. 2
© thevoid99 2014
One of the most controversial yet revered filmmakers of the horror genre, David Cronenberg is considered to be the godfather of the body-horror films as he would redefine horror by exploring ideas of sexuality, body transformation, and all sorts of things. While he would deviate from the genre in some of his more recent films, he still manages to infuse his own troubling idea about violence and sex in his films as he continues to redefine himself as a storyteller and filmmaker. With another film in the works coming in 2014 that would explore the world of film culture in Maps to the Stars. David Cronenberg is a name that always peak the interest of film buffs no matter what kind of films he makes.
Born in Toronto, Ontario in Canada on March 15, 1943, Cronenberg was the son of writer/editor Milton Cronenberg and musician Esther Sumberg in a Jewish, middle-class family. Cronenberg would later gain a sister in Denise as she would later become one of his key collaborators in his film career due to her work in costume design. While attending Harbord Collegiate Institute, Cronenberg’s fascination with science that included botany and lepidopterology gave him the chance to attend the University of Toronto in 1963 at the Honour Science program. Though he would switch programs for Honors English Language and Literature which increased his interest in writing as he had been writing as a child. It was there that Cronenberg became fascinated with the world of film as he would start making his first student films by this time.
The rest can be read in two parts at Cinema Axis in the following links: Part 1: 1966-1988 & Part 2: 1991-2014
© thevoid99 2013
Based on the novel by Don DeLillo, Cosmopolis is the story of a young multi-billionaire whose desire to get a haircut has him going onto a very strange journey where he encounters various people and embark on things that are very unsettling. Written for the screen and directed by David Cronenberg, the film plays into the life of a young man in the span of 24 hours as he starts to lose touch with reality as the world around him becomes chaotic. Starring Robert Pattinson, Sarah Gadon, Paul Giamatti, Samantha Morton, Jay Baruchel, Kevin Durand, Mathieu Almaric, and Juliette Binoche. Cosmopolis is drab and overwrought film from David Cronenberg.
The film is a simple story about a young billionaire who is in his limo driving through the traffic-laden streets of New York City just wanting a haircut. Yet, a visit from the U.S. president, a rapper’s funeral procession, and protests concerning about the state of capitalism puts this young man in one hellish day as he self-destructs slowly as his fortune falls and his own personal life starts to fall apart. It’s a premise that could’ve been engaging and also compelling to explore a man’s self-destruction as it would be in the hands of someone as revered as David Cronenberg. Instead, it’s an overblown and soulless film that doesn’t really have anything to say. For most of the story’s two-acts, the film’s protagonist in Eric Parker (Robert Pattinson) spends his time in his lavish, state-of-the-art limo talking to various advisors, analysts, workers, and such about his dwindling fortune while stepping out to do a few activities and eat a few meals with his wife Elsie (Sarah Gadon).
The screenplay is often filled with this very stylized dialogue where everyone talks in a certain rhythm that goes on too fast and features themes about finances and capitalist theories that doesn’t make any sense. Even as some of the dialogue is so poor that it’s often spoke in a very robotic fashion that just sucks out the life of the story. In the course of the story, Parker sleeps with a few women who aren’t married to him while dealing with the fact that he’s got an asymmetrical prostate as he has a hard time figuring out a currency where protesters are targeting him. The third act does break away from the monotony of the story but only to the point that it gets messier where Parker finally gets his haircut while trying to find out who is trying to kill him as the result almost ends up being the same thing about capitalism, life, and all that where it gets repetitive and loses ground into whatever arguments that Parker is going after.
Cronenberg’s direction should’ve been interesting as he spends much of the film inside a limo where it’s very intimate but also claustrophobic to showcase the cold world that Parker lives in. Instead, the story that Cronenberg is telling doesn’t hold much ground where this mixture of chaos outside of the limo and Parker trying to cage himself in his limo doesn’t do anything as the constant talking just drags the film. The moments where the film leaves the limo and into a few places doesn’t really have Cronenberg do much other than create a few interesting compositions but the way he directs his actors really bogs the film down even more. Even as its climax where Parker leaves the limo to get his haircut and confront whoever is trying to kill him only makes things worse as the film ends on a very abrupt and hollow note. Overall, Cronenberg creates an excruciatingly dull and lifeless film that had something to say but ends up saying nothing at all.
Cinematographer Peter Suschitzsky does nice work with the cinematography to play into its look of the city as it‘s in chaos while editor Ronald Sanders does some good work in the editing though it does have a hard time to keep up with the very talkative dialogue while not doing enough to build up some suspense. Production designer Arvinder Grewal and art director Joshu de Cartier do excellent work with the look of the limos and places Parker goes to while costume designer Denise Cronenberg creates some wonderful dresses that Elsie wears.
Visual effects supervisor Wojciech Zielinski does some bad work in some of the film‘s visual effects that includes a backdrop for the shots outside of the limo. Sound editor Wayne Griffin and Michael O’Farrell do some fine work with the sound to play into the chaotic nature in the locations. The film’s music by Howard Shore is terrific as it is low-key with its emphasis on brooding electronic music that includes some contributions from the Canadian band Metric to provide some dark textures into the soundtrack.
The casting by Deirdre Bowen definitely has a great collection of actors where there’s a few noteworthy performances from George Touliatos as the barber Anthony and Abdul Ayoola as Packer’s driver where the two have a nice conversation about their old lives as cab drivers. Other notable performances from Patricia McKenzie as a bodyguard of Packer, Emily Hampshire as finance chief, Jay Baruchel as his friend Shiner, Kevin Durand as Packer’s main bodyguard Torval, and Philip Nozuka as his analyst don’t really get much to do as they’re bogged down by the film’s atrocious dialogue that just has them over-explaining things.
For a cast that includes such revered talents as Mathieu Almaric, Juliette Binoche, Paul Giamatti, and Samantha Morton, they are unfortunately wasted in this film. Giamatti plays a disgruntled, troubled ex-employee of Packer who just talks and talks while Almaric is just a guy who slams a pie into Packer. Morton doesn’t do anything but talk about numbers and such as if she was a robot while Binoche plays an art consultant who sleeps with Packer as she talks about money and art. Sarah Gadon is terrible as Packer’s young wife Elsie as she only appears in a few scenes as the scenes she have with Pattinson are included with some bad dialogue that’s made worse by the fact that they’re talking like robots. Finally, there’s Robert Pattinson in a performance that is unsurprisingly typical of what he’s known for as he’s just a bore to watch as well as the fact that he talks like a robot in some respects while often does a lot of blank stare to showcase that he is indeed a very bland and soulless young man who can’t act worth a shit.
Cosmopolis is a fucking travesty of a film from someone as brilliant as David Cronenberg. Thanks in part to Robert Pattinson’s horrendous performance as well as its un-engaging story and overwritten dialogue. It’s a film that should’ve said something about a man’s self-destruction in the wake of a capitalist protest but instead says nothing profound. Even as it ends up being a cinematic downward spiral of nothingness that goes further into a spiral of ever-more nothingness. In the end, Cosmpolis is a film that just absolutely fucking sucks.
David Cronenberg Films: Stereo - Crimes of the Future - Shivers - Rabid - Fast Company - The Brood - Scanners - Videodrome - The Dead Zone - The Fly (1986 film) - Dead Ringers - Naked Lunch - M. Butterfly - Crash - eXistenZ - Spider - A History of Violence - Eastern Promises - A Dangerous Method - Maps to the Stars - Crimes of the Future (2022 film)
The Auteurs #26: David Cronenberg: Pt. 1 - Pt. 2
© thevoid99 2013
Based on the short story by George Langelaan and its 1958 film adaptation directed by Kurt Neumann, The Fly is the story about a scientist whose attempt to create a teleport machine has suddenly gone wrong when a fly ends up in one of the pods he was in as his girlfriend tries to help him. Directed by David Cronenberg and screenplay by Cronenberg and Charles Edward Pogue, the film is a modern-day version of the 1958 film that explores a man’s experiment gone wrong as he starts to lose his idea of humanity. Starring Jeff Goldblum, Geena Davis, and John Getz. The Fly is an astounding yet unsettling sci-fi horror film from David Cronenberg.
The film has this simple premise in which a brilliant yet eccentric scientist named Seth Brundle (Jeff Goldblum) who has been trying to create a teleport machine in the hopes that the idea of traveling via air, road, or sea would ceased to exist. After showing it to a journalist named Veronica Quaife (Geena Davis) who meets him at a science convention, she helps give him ideas on how something living can transport from one pod to another. When Seth decides to teleport himself from one pod to another, the experiment works until Veronica is convinced something has gone wrong when it became clear that a housefly was in the pod with Seth as he starts to disintegrate and lose his humanity where he becomes this strange hybrid between man and fly. It’s an idea that has all of the elements that is perfect for a sci-fi horror film with elements of drama and dark humor as it plays into a man’s obsession with becoming brilliant yet finds himself becoming something else.
The film’s screenplay has a unique structure that plays into world of Seth Brundle as the first act is about him meeting Veronica and showing her his teleport experiment. The two eventually have a relationship much to the dismay of Veronica’s editor/former boyfriend Stathis Borans (John Getz) who learns about the affair as he follows Veronica. An act of jealousy from Brundle over Veronica’s relationship with Stathis would have him try the experiment itself as its second act would play into his belief that the experiment has made him better. Veronica however, starts to question him about what he’s become as hairs are coming out of a scar from his back. It is all part of the schematics of what is expected in the genre yet David Cronenberg and co-screenwriter Charles Edward Pogue add an element of human drama into the story. Especially in the love story between Seth and Veronica as Seth finds someone he can talk to while Veronica is fascinated by Seth’s genius.
By the film’s second half where Veronica becomes concerned for Seth’s well-being and his denial about what he’s becoming. It all plays to this very chilling third act where Seth has accepted into what he’s becoming as he tries to find a way to save himself. Veronica tries to help but couldn’t believe the state that he’s become while there’s another element that ups the drama as well as everything else that would play into Veronica’s own well-being. This would get Stathis involved as he tries to help Veronica while discovering what has happened to Seth where it would play into a very intense climax.
Cronenberg’s direction is very engaging in not just the way he plays into the drama but also take a slow burn into creating the horror that is to come. Many of the compositions that Cronenberg does for its first act is quite simple as it plays out as an understated drama with a bits of humor and romance where it builds up the romance between Seth and Veronica. Yet, there’s the Stathis character who is kind of a smarmy schmuck that still has feelings for Veronica as he would definitely drive Seth into jealousy which makes him wanting to test his teleport device himself. Cronenberg would create these shots of Seth showing the newfound strength and abilities that he has after being teleported but there are a few moments where Cronenberg would play into that sense of horror through a few key shots and sounds that would create a sense of foreboding.
There are bits of horrific moments that occur in the first half but it would all come to play in the second half such as a scene where Seth leaves in a state of anger to get a drink as he would do some things that would begin his de-evolution as a human being. Notably in the third act where the horror becomes very real when Veronica finally sees what Seth has become after a few weeks where he’s become this very horrific hybrid of human and fly. There is also an added dramatic stake that would increase the sense of horror where Seth’s state of mind becomes more erratic and less human as it involves Veronica. Even as the horror becomes this mixture of gore and body horror as there’s some drastic decisions to be made as well as tragedy over what Seth had become. Overall, Cronenberg creates a very intense and terrifying film about a man’s experiment that went horribly wrong.
Cinematographer Mark Irwin does excellent work with the film‘s cinematography from the use of lights to play into the interior of Seth‘s loft as well as some of the look of the many locations set in Toronto. Editor Ronald Sanders does brilliant work with the editing by creating some methodical cuts to play up the horror as well as some rhythmic cuts to showcase Seth‘s state of mind as it becomes erratic. Production designer Carol Spier, with set decorator Elinor Rose Galbraith and art director Rolf Harvey, does amazing work with the set pieces from the look of Seth‘s loft as well as the design of the pods.
Costume designer Denise Cronenberg does nice work with the costumes as it‘s mostly casual with the men wearing suits while it‘s Veronica that gets to wear some more stylish clothes. Special makeup effects by Stephen Dupuis and Chris Walas is tremendous for the look of Seth in the state he‘s in where he slowly starts to look like a freak with some very disturbing results as well as what he would look like later on as it‘s makeup work at its finest. Sound editors David Evans and Wayne Griffin do superb work with the sound from the way the pods sound when the doors open to some of the intimate moments such as the sound of the housefly. The film’s music by Mark Irwin is fantastic for its chilling score which is a mixture of low-key electronics and broad orchestral arrangements to play out the sense of horror and suspense.
The casting by Deirdre Bowen is terrific as it features a mostly small cast that includes Leslie Carlson as a doctor friend of Stathis, Joy Boushel as a woman at a bar Seth meets, George Chuvalo as that woman’s friend, and David Cronenberg making a cameo as a gynecologist in a very terrifying scene. John Getz is excellent as Stathis Borans as a man who has feelings for Veronica as he is very smarmy around her until he learns about what is happening to Seth as he tries to help Veronica. Geena Davis is remarkable as Veronica Quaife as a journalist who falls for Seth as she is later terrified by the changes he’s going through as she tries to help him while dealing with something that would complicate everything. Finally, there’s Jeff Goldblum in a magnificent performance as Seth Brundle as this brilliant yet weird scientist who hopes to change the world with a teleport machine only to succumb to the condition that would make him less human.
The Fly is an outstanding film from David Cronenberg that features brilliant leading performances from Jeff Goldblum and Geena Davis. Along with some great technical work in its look, music, and its award-winning makeup effects. It is definitely a film that can be classified as what a horror film should be and more. Even as it has that element of human drama and suspense that makes it stand out to appeal to audiences who aren’t into horror. In the end, The Fly is a phenomenal film from David Cronenberg.
David Cronenberg Films: Stereo - Crimes of the Future - Shivers - Rabid - Fast Company - The Brood - Scanners - Videodrome - The Dead Zone - Dead Ringers - Naked Lunch - M. Butterfly - Crash - eXistenZ - Spider - A History of Violence - Eastern Promises - A Dangerous Method - Cosmopolis - Maps to the Stars - Crimes of the Future (2022 film)
The Auteurs #26: David Cronenberg: Pt. 1 - Pt. 2
© thevoid99 2013
Written and directed by David Cronenberg, Scanners is the story of a renegade telepathic/telekinetic person who fights against a corporation in the hopes of wreaking havoc on humanity until that corporation uses a person with the same powers to fight back. The film is a simple battle of good vs. evil where two men with telepathic/telekinetic powers fight each other in an all-out war. Starring Jennifer O’Neill, Stephen Lack, Patrick McGoohan, Lawrence Dane, and Michael Ironside. Scanners is an intense yet powerful film from David Cronenberg.
The film is essentially a classic tale of good vs. evil in which a young telepathic/telekinetic person is asked by a corporate doctor to fight against a man with similar powers who is waging war on humanity. It’s a premise that is quite simple yet it is filled with these very complex stories about these individuals who are called scanners as they have a hard time dealing with society as they are able to hear other people’s thoughts and sometimes hurt them with their minds. Especially as a man named Darryl Revok (Michael Ironside) is already gathering whatever scanners he can get to wage war on humanity and fight whoever, including other scanners, oppose him. This forces a lonely scanner named Cameron Vale (Stephen Lack) to be captured by a corporation called ConSec who want to use him but he finds comfort in Dr. Paul Ruth (Patrick McGoohan) who would teach him how to control his powers.
David Cronenberg’s screenplay does have a traditional plot in how it plays to a corporation’s reaction to this danger threat and a doctor trying to teach another man how to control his powers. The first act is about the terror that Revok creates where he infiltrates a press conference where he blows up a man’s head with his mind while Vale is being cared and mentored by Dr. Ruth. The second act is about Vale’s attempt to find Revok through a few other scanners where he would meet another scanner that Revok is targeting in Kim Obrist (Jennifer O’Neill) who has organized her own group to resist Revok. Yet, they encounter forces from Revok that causes trouble where Vale makes a discovery but also realizes there’s a traitor where its third act is about confronting the traitor and Revok. Though some of the plotting isn’t perfect as it becomes pretty obvious who the traitor is, it sort of deflates a bit of the suspense though the outcome of what the individual would do manages to intensify the drama and the stakes that are played out.
Cronenberg’s direction is very stylish in not just the way he plays out the drama and suspense but also infuse with some high-octane action and chilling horror. Notably as the opening sequence set in a mall in Toronto plays to that element of suspense and horror where Cronenberg uses some stylish compositions and moods to play up Vale’s attempt to evade capture from ConSec. Cronenberg would use close-ups to showcase the scanners scanning on various individuals as well as medium and wide shots to showcase the world they live in and how alienated they feel. Since the film is set in Toronto where Cronenberg uses the place as another character in the film. It creates a world where civilization is still thriving but unaware of these scanners who have the power to kill them with their minds.
The direction also has Cronenberg upping the ante as far as violence and horror is concerned. The scene at the press conference is really the starting of point of what’s to come though the opening scene of Vale in the mall scanning on an old lady is tame to what Revok does in the press conference. The violence is definitely stylized and intense where there’s some explosions as it would lead to this climatic showdown between Vale and Revok as it involves some amazing makeup effects and horror that is presented in film. Overall, Cronenberg creates a thrilling and stylish good-and-evil film that is exciting as well as fucking gory.
Cinematographer Mark Irwin does brilliant work with the cinematography to create some colorful look for some of the film‘s interior setting as well as some lighting set-ups for the scenes at night. Editor Ronald Sanders does some fantastic work with the editing as he goes for an array of styles that includes dissolves, jump-cuts, and slow-motion cuts to play out the action and horror that occurs in the film. Art director Carol Spier does excellent work with the look of the corporate buildings that Vale and Dr. Ruth live in as well as some of the locations in Toronto.
Costume designer Delphine White does nice work with the costumes as it is mostly casual with the exception of some of the corporate suits in the film. Special effects makeup artist Dick Smith does phenomenal work with the makeup from the way veins would pop up as well as the makeup work in the film‘s climatic showdown. Sound editor Peter Burgess does terrific work with the sound to create an atmosphere in the suspense as well as distorting some of the dialogue when there are people who are being scanned. The film’s music by Howard Shore is wonderful for its mixture of brooding electronics and heavy orchestral arrangements to play out the suspense and horror as well as upping the tempo for the action scenes.
The film’s cast is amazing as it features some notable small roles from Mavor Moore as the ConSec CEO, Louis Del Grande as the unfortunate presenter at the press conference, Robert A. Silverman as a scanner named Benjamin Pierce whom Vale questions about Revok’s whereabouts, and Lawrence Dane in an excellent performance as ConSec’s chief security officer Keller who doesn’t like Dr. Ruth’s methods as he tries to do things his own way. Patrick McGoohan is superb as Dr. Paul Ruth as a man who guides Vale into using his powers for good while dealing with the sins he might’ve caused in his past. Jennifer O’Neill is wonderful as Kim Obrist as a fellow scanner who had been organizing a peaceful community for scanners as she becomes threatened by Revok and his forces.
Stephen Lack is brilliant as Cameron Vale as a young scanner who tries to deal with his powers as well as what Revok is doing while learning more about himself and the scanners that he meets. Finally, there’s Michael Ironside in an awesome performance as Darryl Revok where Ironside plays it cool while having that sinister look in his face whenever he wants to create havoc.
Scanners is an incredible film from David Cronenberg. Featuring a great cast and some amazing makeup effects by Dick Smith. The film is definitely not just one of Cronenberg’s finest films but also one of the coolest horror films of the 1980s. Especially in the way it creates mind-blowing sequences including exploding heads. In the end, Scanners is a marvelous film from David Cronenberg.
David Cronenberg Films: Stereo - Crimes of the Future - Shivers - rabid - Fast Company - The Brood - Videodrome - The Dead Zone - The Fly (1986 film) - Dead Ringers - Naked Lunch - M. Butterfly - Crash - eXistenZ - Spider - A History of Violence - Eastern Promises - A Dangerous Method - Cosmopolis - Maps to the Stars - Crimes of the Future (2022 film)
The Auteurs #26: David Cronenberg: Pt. 1 - Pt. 2
© thevoid99 2013
Written and directed by David Cronenberg, The Brood is the story about a man who is in a child-custody battle with his mentally-ill wife where a series of mysterious murders happen as the woman‘s doctor believe that his research might‘ve something to do with this. The film is an exploration into the world of family as well as a doctor’s attempt to delve deep into the mind of those who had been abused only for one of those patients to go way too far. Starring Oliver Reed, Samantha Eggar, and Art Hindle. The Brood is a chilling and terrifying film from David Cronenberg.
The film is about a man who is embroiled in a child custody battle with his mentally ill wife as she is in the care of a renowned psychologist named Dr. Hal Raglan (Oliver Reed). Dr. Raglan’s technique known as psychoplasmics has Dr. Raglan be the source of trauma and abuse for his patients to react emotionally as one of them is Nola Carveth (Samantha Eggar) who is embroiled in a child-custody case with her husband Frank (Art Hindle) over their five-year old daughter Candy (Cindy Hinds). A series of mysterious murders involving those close to Frank and Nola start to occur where Frank makes a chilling discovery as does Dr. Raglan. It all plays to a woman acting out her own emotional and mental traumas as she starts to get all out of control while her husband starts to learn more about the doctor’s methods and the drawbacks it occur.
David Cronenberg’s screenplay does have ideas that play to the schematics of what is expected in the horror genre once it concerns various characters getting killed off. Yet, it all plays to a man trying to understand why are these people getting killed as the killers are these very strange, deformed dwarf children. Even as Frank decides to talk to a former patient of Dr. Raglan who is filing a suit against him over the drawbacks of Dr. Raglan’s technique that has him dying of a mysterious form of lymphoma. Much of the film does play to a traditional structure as far as what is expected in horror where the third act would have this climax where Frank has to face the source of these murders once Candy is suddenly involved in the scenario.
David Cronenberg’s direction has him finally coming into his own as a filmmaker where there is a sense of restraint in the way he plays up to the suspense as well as knowing when to hit certain rhythms for the kill. Yet, a lot of the direction is quite simple in terms of framing while he also uses some wide shots and close-ups to play up some of the atmosphere of the film. For the scenes of horror, much of the violence is definitely stylized as well as the way characters are killed off. Especially in how it plays to the mystery of the film where Frank not only tries to find out about the murders himself but also Dr. Raglan once he is convinced that he might have something to do with what is happening as he’s very close to Nola in the treatments he’s giving her. All of which leads to this very chilling yet horrifying climax that involves the source as well as the outcome of Dr. Raglan’s technique. Overall, Cronenberg creates a very scary yet intense film about family trauma and a man’s fight for his child.
Cinematographer Mark Irwin does brilliant work with the film‘s cinematography to play out the entrancing yet colorful look of the locations nearby Toronto including some of the interiors such as the home of Candy‘s grandmother. Editor Alan Collins does excellent work with the editing in not just using some rhythmic cuts to play with the suspense but also for the scenes of horror where it plays up the momentum and its impact. Art director Carol Spier does fantastic work with the look of Dr. Raglan’s building and his home as well as the home that Frank lives in.
Special makeup work by Dennis Pike and Jack H. Young do amazing work with the look of the dwarf killers as well as some of lymphoma rashes on some of Dr. Raglan‘s patients. Sound editor Peter Burgess and sound recorder Bryan Day do superb work with the sound from the way objects are used to kill to the sound of telephone rings and such in some scenes to play up its suspense. The film’s music by Howard Shore is incredible for its chilling yet mesmerizing orchestral score to play out the suspense and horror that occurs in the film.
The film’s remarkable cast includes some notable small appearances from Nicholas Campbell as Dr. Raglan’s assistant, Michael Magee as an inspector, Robert A. Silverman as a former patient of Dr. Raglan who is suing him, Gary McKeehan as a trouble patient of Dr. Raglan, and Cindy Hinds in a wonderful performance as Frank and Nola’s five-year-old daughter Candy. Harry Beckman and Nuala Fitzgerald are terrific as Nola’s estranged parents Barton and Juliana Kelly who are both concerned about Nola’s treatments where the former finds himself confronting Dr. Raglan. Susan Hogan is superb as Candy’s teacher Ruth Mayer who becomes concerned about Candy’s well-being as she befriends Frank while answering a call from Nola that would be troubling.
Art Hindle is brilliant as Frank Carveth as a man trying to keep his daughter safe from her mother while dealing with the chaos of the murders as well as the killers that he faces forcing him to find its source. Oliver Reed is great as Dr. Hal Raglan as a man trying to help people sort out their emotional traumas only to find out that his treatment with Nola has some serious repercussions as he realize what he must do. Finally, there’s Samantha Eggar in a fantastic performance as Nola Carveth as a very troubled woman who acts out all of the abuse and trauma she faces as she starts to become more insane while wanting her daughter back.
The Brood is a phenomenal film from David Cronenberg. Due to the top-notch performances of Oliver Reed, Samantha Eggar, and Art Hindle as well as it’s engaging visual style. The film is definitely a horror film that has enough scare and gore that fans of the genre will love but also a captivating story about family and traumas that would appeal to fans outside of the horror genre. In the end, The Brood is an absolutely horrifying yet spectacular film from David Cronenberg.
David Cronenberg Films: Stereo - Crimes of the Future - Shivers - Rabid - Fast Company - Scanners - Videodrome - The Dead Zone - The Fly (1986 film) - Dead Ringers - Naked Lunch - M. Butterfly - Crash - eXistenZ - Spider - A History of Violence - Eastern Promises - A Dangerous Method - Cosmopolis - Maps to the Stars - Crimes of the Future (2022 film)
The Auteurs #26: David Cronenberg: Pt. 1 - Pt. 2
© thevoid99 2013
Directed by David Cronenberg and screenplay by Cronenberg, Phil Savath, and Courtney Smith from a story by Alan Treen, Fast Company is about a drag racer who deals with his crooked manager who tries to undermine his racing career as well as the racer’s protégé. The film has Cronenberg straying away from the horror film genre in order to make a simple B-movie based on drag racing and fast cars. Starring William Smith, John Saxon, Claudia Jennings, and Nicholas Campbell. Fast Company is a fun and enjoyable film from David Cronenberg.
The film is a simple tale about a drag-race car legend who is going through tough times while helping his young protégé pay his dues as he’s driving the funny car. Yet, when his manager decides to undermine things for his driver and his protégé where it causes tension. The driver then learns about what his manager is really doing as he also have to deal with a racing rival and his goons prompting the driver, his protégé, and their team to do something. It’s a film that essentially has a premise where there’s not a lot that goes on in its screenplay where it doesn’t take itself seriously except when it comes to business and racing politics. Even as the driver known as Lonnie “Lucky Man” Johnson (William Smith) is aware that his career is winding down but finds himself having to do things at the behest of his manager Phil Adamson (John Saxon) that he doesn’t like. While it is partially a racing drama of sorts, it’s mostly presented in a comedic B-movie fashion where there’s women involved and all sorts of crazy things.
David Cronenberg’s direction is quite straightforward in the way he presents the drag racing world where it is fast and furious on the race track as it’s about winning and losing. Yet, he also takes his time to explore what goes on behind the scenes where Adamson’s character decides to wreck things and go after Johnson’s rival Gary “The Blacksmith” Black (Cedric Smith) who has some respect for Johnson while waiting to see what kind of potential Johnson’s protégé Billy “The Kid” Brocker (Nicholas Campbell) has. Much of the direction features some simple yet engaging shots including some beautiful scenery of the locations in the American Northwest/Canadian Southwest. While there are a few moments involving fire and such that is part of Cronenberg’s visual trademark. It’s mostly restrained in favor of humor as well as some campy nudity that occurs. Overall, Cronenberg crafts a fine although typical kind of drag-race B-movie that does have some substance.
Cinematographer Mark Irwin does excellent work with the film‘s very colorful cinematography to not just capture the landscape of the locations but also some scenes at night to play out the tense atmosphere of the film. Editor Ronald Sanders does nice work with the editing to create some rhythmic cuts for the races as well as for some of the film‘s humorous moments. Art director Carol Spier does terrific work with the look of Johnson‘s trailer as well as the race tracks that take place in the film.
Costume designer Delphine White does some good work with the costumes as it‘s mostly casual to play with the look of the late 1970s. Sound recorder Bryan Day does superb work with the sound to play out the sounds of the engines and tires in the drag races. The film’s music by Fred Mollin is quite decent as it is mostly a mixture of late 70s mainstream rock and country to play out the energy of the film’s racing and comedy scenes
The casting by Gail Carr is brilliant as it features some notable appearances from Cheri Hilsabeck and Sonya Ratke as a couple of hitchhikers Billy picks up, Chuck Chandler as the Edmonton track announcer, David Graham as Black’s more friendlier mechanic Stoner, George Buza as Black’s more ruthless mechanic Meatball, and Robert Haley as Johnson’s funny mechanic PJ. Judy Foster is pretty good as Johnson’s girlfriend Candy who deals with his road trip as well as the frustrations he’s feeling over Adamson. Don Francks is terrific as Johnson’s chief mechanic Elder who is the conscience of the film as he helps guide Johnson and Billy while knowing that Adamson isn’t doing something good. Cedric Smith is excellent as Johnson’s rival Gary “The Blacksmith” Black who has a lot of respect for Lonnie but becomes frustrated by the fact that he’s being challenged while swayed into doing business by Adamson.
Nicholas Campbell is superb as Billy “The Kid” Brocker as Johnson’s protégé who is eager to make a name for himself as he deals with Adamson’s politics while trying to help Johnson take back some control. Claudia Jennings is wonderful as Sammy as a woman who works for Adamson as she becomes suspicious of his dealings where she helps Johnson and Brocker to deal with Adamson. John Saxon is amazing as the very slimy Phil Adamson as a man who is more concerned with profit than winning as he wants forces Johnson to do things to help money with no concern for anyone’s well-being. Finally, there’s William Smith in a fantastic performance as Lonnie “Lucky Man” Johnson as a revered racer who deals with politics and his manager’s crooked ways as he tries to do what is right for his team and for the world of drag racing.
Fast Company is a terrific and entertaining film from David Cronenberg. While it is definitely a very weird film in terms of what is expected from Cronenberg as it doesn’t feature a lot of horror or any heavy drama. It is still some fine B-movie fare that doesn’t take itself seriously while giving its audience a lot of fun drag races and some nudity. In the end, Fast Company is a pretty good film from David Cronenberg.
David Cronenberg Films: Stereo - Crime of the Future - Shivers - Rabid - The Brood - Scanners - Videodrome - The Dead Zone - The Fly (1986 film) - Dead Ringers - Naked Lunch - M Butterfly - Crash - eXistenZ - Spider - A History of Violence - Eastern Promises - A Dangerous Method - Cosmopolis - Maps to the Stars - Crimes of the Future (2022 film)
The Auteurs #26: David Cronenberg: Pt. 1 - Pt. 2
© thevoid99 2013
Written and directed by David Cronenberg, Rabid is the story of a woman who awakens from surgery following a motorcycle accident where she unknowingly creates a wave of rabid zombies. The film has Cronenberg continuing his fascination with body horror as well as a woman dealing with the disease she’s spreading. Starring Marilyn Chambers, Frank Moore, Joe Silver, Howard Ryshpan, Patricia Gage, Susan Roman, and Ronald Mlodzik. Rabid is a chilling yet exciting film from David Cronenberg.
The film is about this emerging epidemic in which people with rabies are biting other people as the carrier of this disease is a woman who had just gotten out of surgery following a motorcycle accident. It’s a film that is about people dealing with this epidemic while its main story follows this woman who doesn’t know she’s the carrier as she has no idea what she’s doing until those she comes in contact with she attacks with a mysterious orifice that comes out of her armpit in need of human blood. It’s a premise that is very simple that plays into the idea of a rabid zombie outbreak as it includes minor subplots of medical officials and such trying to figure out how this outbreak happened. David Cronenberg doesn’t exactly reveal what happened to this woman during the surgery but suggests that something might’ve gone wrong and led to the chaos that happens in the film.
The film’s lack of conventional plot does allow Cronenberg to play with the conventions of what is expected in the horror genre where he knows how to play with the rhythms of suspense and horror. Notably as his direction has Cronenberg keeping things simple in terms of compositions while he does start things off with this very intense sequence of Rose (Marilyn Chambers) and her boyfriend Hart (Frank Moore) riding in a motorcycle until they come across a van and crash. A lot of the framing and compositions are engaging in the way it plays to the suspense where Cronenberg knows something will happen and doesn’t try to infuse any tricks. Even as Cronenberg would get some close-ups of the strange orifice under Rose’s armpit to see what it’s doing and how it spreads to those it comes into contact with. Even as it causes an outbreak where things intensify for the film’s third act as martial law comes in and there’s that element of danger where no one is safe. Overall, Cronenberg creates a very intriguing and thrilling film about an outbreak of rabid zombies.
Cinematographer Rene Verzier does excellent work with the cinematography where a lot of exterior shots of the locations near Montreal are straightforward along with some stylish lights for the scenes at night and for some of its interiors. Editor Jean LaFleur does amazing work with the editing by creating some intense cuts for some of its suspense as well as methodical rhythms to help build up its suspense. Art director Claude Marchand does nice work with some of the set pieces such as the clinic where Rose was taken to early in the film as well as the apartment Hart lived in.
Special makeup design by Joe Blasco is fantastic for the design of the phallic orifice that is under Rose‘s armpit as well as the hole it comes out of as well as the look of the infected people who roam around Montreal. Sound supervisor Danny Goldberg does terrific work with the sound to play up the atmosphere of the location as well as broaden the wave of horror that occurs in the film. The film’s soundtrack, that is supervised by its executive producer Ivan Reitman, features an array of music that is mostly some chilly orchestral music as well as some pop and country tunes that is played on the radio.
The casting by Sharron Wall is brilliant for the ensemble that is created as it features some notable appearances from Ronald Mlodzik as a patient, Susan Roman as Rose’s friend/roommate Mindy, Richard W. Farrell as the driver of the camper van that causes the accident, Howard Ryshpan as the head clinic doctor Dr. Keloid who performs Rose’s surgery unaware of what he’s done, Patricia Gage as Keloid’s wife, and Joe Silver as Dr. Keloid’s business partner Murray Cypher who tries to deal with the chaos of what is happening as he accompanies Hart. Frank Moore is superb as Rose’s boyfriend Hart who learns about what happened at the hospital as he tries to find Rose while discovering about the chaos that is happening with the zombie outbreak. Finally, there’s Marilyn Chambers in a wonderful performance as Rose as this woman who has no idea what she’s doing except she’s hungry for blood as she later becomes troubled. It’s an engaging performance from Chambers who is able to use her limitations to create a sympathetic yet terrifying performance.
Rabid is a marvelous film from David Cronenberg that features an excellent performance from the late Marilyn Chambers. The film isn’t just an exciting zombie-outbreak film but also a horror film that plays with its conventions while creating an energy that is just fun to watch. In the end, Rabid is an extraordinary film from David Cronenberg.
David Cronenberg Films: Stereo - Crimes of the Future - Shivers - Fast Company - The Brood - Scanners - Videodrome - The Dead Zone - The Fly (1986 film) - Dead Ringers - Naked Lunch - M. Butterfly - Crash - eXistenZ - Spider - A History of Violence - Eastern Promises - A Dangerous Method - Cosmopolis - Maps to the Stars - Crimes of the Future (2022 film)
The Auteurs #26: David Cronenberg: Pt. 1 - Pt. 2
© thevoid99 2013
Written, directed, shot, and edited by David Cronenberg, Crimes of the Future is the story about a dermatologist clinic director who tries to find his mentor after a mysterious disappearance. The film is a look into the mind of a man learning about his mentor’s disappearance as well as what he might be doing. Starring Ronald Mlodzik, Jon Lidolt, Tania Zolty, Jack Messinger, Paul Mulholland, William Haslam, and William Poolman. Crimes of the Future is an intriguing but very dull from David Cronenberg.
The film features this simple premise abut a dermatology clinic director who tries to find his mentor where he goes around places in Toronto to see where he is. During the search, he encounters many people in his journey who are all very strange as he is himself while sensing the presence of his mentor. It’s a film that has a premise that is interesting but its lack of conventional plot as well as it’s very monotone narration by its protagonist Adrian Tripod (Ronald Mlodzik). Notably as there’s very few moments that play out in the film that tells the story where Tripod’s narration just drags it through and through.
David Cronenberg’s direction does have some moments that play into his idea of body horror but not much happens. While he does create some amazing compositions and shot with some vibrant colors in the cinematography, he doesn’t do enough to sustain some interest in what is happening. Even as some scenes tend to go on and on where he uses weird soundtracks and Tripod’s narration to move the story forward to the point that it makes the pacing very sluggish. While there are some stylish moments in the tracking shots and the use of the locations that adds some very engaging images that includes some nice editing in the mix. The limitations that Cronenberg had in his budget in which many of the actor’s performances are very silent where its narration only hampers the story even more. Overall, Cronenberg creates a very drab film about a man’s search for his mentor.
Crimes of the Future is a very boring and pretentious film from David Cronenberg. Largely due to its budget limitations and wanting to focus on the visuals rather than dialogue, it’s a film that doesn’t contain many ideas that Cronenberg is known for with the exception of blood and body horror that he would refine in the years to come. In the end, Crimes of the Future is a terrible film from David Cronenberg.
David Cronenberg Films: Stereo - Shivers - Rabid - Fast Company - The Brood - Scanners - Videodrome - The Dead Zone - The Fly (1986 film) - Dead Ringers - Naked Lunch - M. Butterfly - Crash - eXistenZ - Spider - A History of Violence - Eastern Promises - A Dangerous Method - Cosmopolis - Maps to the Stars - Crimes of the Future (2022 film)
The Auteurs #26: David Cronenberg: Pt. 1 - Pt. 2
© thevoid99 2013
