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Why watch this film?
A work from the "master of terror" Stephen King in the hands of the "blood baron," David Cronenberg, would seem like a dream come true. 'The Dead Zone' may not be as spectacular as other entries in Cronenberg's filmography, like 'Invasion of the Body Snatchers' or 'Scanners: Minds Destroyers', but it is an effective horror thriller in which Christopher Walken is able to submerge us in his madness: that of someone who is able to know the future and all the horrors it holds.
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Plot summary
A man awakens from a coma to discover he has a psychic ability.
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Maps to the Stars
A movie about lost souls, portraying some of the profiles that float around Hollywood. However, this isn't an easy movie for everyone's taste. Recommended for those who want something acidic, seemingly aimless, pessimistic, and disturbing.
A History of Violence
From the great director David Cronenberg and based on the graphic novel of the same name by John Wagner and Vince Locke, 'A History of Violence' is a beguiling film that at first appears to have a straightforward and simple story. Nominated for the Palme d'Or at Cannes and two Academy Awards, this is a film with complex characters all expertly acted by an incredible cast led by Viggo Mortensen.
Videodrome
It is the first movie produced by Hollywood from director David Cronenberg, alias "the Baron of Blood," and it certainly delivers on spectacular special effects for its time. Despite being a box office flop, 'Invaders' (better known as 'Videodrome', its original title) was well received by critics, as it reflects on topics such as entertainment, technology, and the media. It remains surprisingly relevant even today, in the digital age of social media.
A Dangerous Method
This co-production between Germany and Canada, but recorded in English and with a great international cast, mixes reality and fiction to portray one of the most turbulent relationships in science: between Carl Jung and Sigmund Freud, with Sabina Spielrein (the first female psychoanalyst) between them. The direction of David Cronenberg (of 'The Fly') is competent, but the highlight is on the performances of the trio of Michael Fassbender, Keira Knightley and Viggo Mortensen.
Cosmopolis
Based on Don DeLillo's novel and directed by David Cronenberg ("The Fly"), "Cosmopolis" is a mix of suspense and dystopian science fiction, set in a not-so-distant future. As such, it is a distant and cold portrait of the millionaires and the educated apathy towards the humanitarian crises around them, insensitive to their personal interests and their lavish lives that, paradoxically, leave them hungry for real connections - a fact symbolized, in part, by the protagonist's total isolation in his limousine equipped with state-of-the-art technology and soundproofing. The dialogues are somewhat tense, perhaps to reflect the coldness of an elite obsessed with reason and money, which accentuates the somewhat tedious pace of the movie. Official selection of the Cannes Film Festival 2012, and with the participation of great Juliette Binoche, Paul Giamatti and Sarah Gadon.
Crimes of the Future
In "Crimes of the Future," Kristen Stewart's character Timlin whispers, "Surgery is the new sex." Directed and written by David Cronenberg, the film is situated between "Videodrome" and "Crash: Strange Pleasures." Here, bodily change is something minor. The focus is actually on internal changes within the body, creating new organs and causing an almost artificial "evolution." At the center of attention are Saul Tenser (Viggo Mortensen) and Caprice (Léa Seydoux), performance artists focused on "producing" new organs, tattooing them still inside people's bodies and then removing them in public exhibitions. It shows not only the ability of this ever-dying man to produce new internal tissues, but also how this woman can make even more artificial modifications (tattoos) perfectly. In parallel to this there is also the plot of Dotrice (Scott Speedman), a man who, after the murder of his son at the beginning of the story, begins to go after Saul. The reason? He wants the artist to do an autopsy as a work of art. With a noir style, with many shadows and this character of Saul transiting in this scenario, "Crimes of the Future" brings some good reflections. Although there is nothing new in this, the search for pleasure through pain is placed in an extreme scenario here, with gore sequences that should make the most sensitive stomachs turn. It is interesting to show this pain and mutilation arriving at an artistic stage in this dystopian future. After all, if pain is pleasure, do we have here profane, perhaps pornographic presentations? It is a new and interesting look at voyeurism, which also raises a pertinent question: how far can we go? Click here to read the full review.
Crash
David Cronenberg's "Crash" is a provocative and disturbing exploration of the human fascination with death and the eroticization of danger. The film follows a TV director who becomes involved with an underground subculture of car-crash victims who use the raw sexual energy produced by their accidents to rejuvenate their sex lives. Despite the film's explicit premise and sexual content, Cronenberg's clinical direction creates a surprisingly distant and detached atmosphere. However, this approach is ultimately effective in highlighting the characters' emotional detachment and the disturbing nature of their fetish. The film's themes and imagery are classic Cronenberg territory, exploring the intersection of technology, sexuality, and human desire. The cast, including James Spader and Holly Hunter, delivers strong performances, fully embodying the characters' complex and often unsettling motivations. "Crash" is not for the faint of heart, but for those willing to delve into its dark and twisted world, it offers a thought-provoking and unforgettable cinematic experience.
The Fly
This mix of science fiction and horror is another good example, just like 'Alien', of how these two genres work well together. Directed by David Cronenberg (of such provocative films as 'Twins' and 'Crash'), the feature film tells the story of a scientist (Jeff Goldblum) who successfully develops a teleportation machine. However, things start to go wrong when he unwittingly takes a trip through the device with a fly inside the teleportation cabin. The genes of the two mix. Human and fly. Gradually, then, this scientist begins to metamorphose into a horrendous creature. Shocking, daring and very creative, the feature film has some stomach-turning scenes - the makeup of 'The Fly' is not for nothing, it was awarded the Oscar in the category in 1987. But the movie is more than shock and horror. With a remarkable and accurate performance by Goldblum ('Jurassic Park'), the production also explores the limits of the human being in an increasingly connected and technological world. And, after all, there is a very fine irony in this story: are we not simply regressing as we become increasingly immersed in technologies?
Horror
Abigail
Abigail demonstrates why we should keep an eye on the director duo Matt Bettinelli-Olpin and Tyler Gillett, especially when they have original material at their disposal (they also directed Scream 5 and 6, with mixed results). Abigail is a film that manages to balance the terror and tragedy of its characters with the absurdity of its premise, thanks to a clever script that plays with the conventions of vampire literature, careful direction, and a phenomenal cast (led by Mexican actress Melissa Barrera and Dan Stevens) that fully utilizes their roles. The plot follows a group of kidnappers tasked with a delicate job: to kidnap a millionaire's daughter for ransom. However, it all turns out to be a trap: beneath the guise of a 12-year-old girl, the victim is actually an ancient vampire who likes to play with her food. Like Ready or Not in its time, this film is self-aware, pushing its story and violence to the most absurd and fun limits without falling into self-parody. It won’t change the history of horror cinema, but it’s an excellent (and even stylish for a film of its genre, I dare say) choice for a fun time at the movies with friends.
28 Days Later
Twenty-eight days after a killer virus was accidentally unleashed from a British research facility, a small group of London survivors are caught in a desperate struggle to protect themselves from the infected. Carried by animals and humans, the virus turns those it infects into homicidal maniacs – and it’s absolutely impossible to contain.
The Jack in the Box Rises
When Raven is sent to an all-girls boarding school, she unleashes a demon from a mysterious vintage jack-in-the-box hidden on the school grounds. Will the students make it out alive, or will the demon claim the victims it requires to remain alive?
Nudus
From director Gibrán Bazán, pupil of legendary cult filmmaker Juan López Moctezuma (Alucarda), NUDUS is a science fiction thriller that, with few resources, aspires to create the worst conceivable dystopia of our digital age: a world in which everyone's data is accessible to everyone, and for any purpose, after a major global hack. The plot follows a woman (Carla Hernández) who, upon waking up from a prolonged coma, is confronted by a stranger (Álex Crusa) who seems to know everything about her: everything she has written on WhatsApp and Facebook, all the videos she has sent to her contacts, all the humiliating information she has said in private. From this moment on, NUDUS seems more concerned with the mystery of its characters than with the greater background of their situation, so it becomes more about the exploitation of its female protagonist than a reflection on technology and data privacy. However, despite the plot going off the rails, the situation lends itself to exemplifying a catastrophic scenario of these breaches in privacy.
