When Max Renn goes looking for edgy new shows for his sleazy cable TV station, he stumbles across the pirate broadcast of a hyperviolent torture show called Videodrome. As he struggles to unearth the origins of the program, he embarks on a hallucinatory journey into a shadow world of right-wing conspiracies, sadomasochistic sex games, and bodily transformation. Starring James Woods and Deborah Harry in one of her first film roles, Videodrome is one of writer/director David Cronenberg’s most original and provocative works, fusing social commentary with shocking elements of sex and violence. With groundbreaking special effects makeup by Academy Award®-winner Rick Baker, Videodrome has come to be regarded as one of the most influential and mind-bending science fiction films of the 1980s. —The Criterion Collection
David Cronenberg, also known as the King of Venereal Horror or the Baron of blood, was born in Toronto, Ontario, Canada, in 1943. His father was a journalist, and his mother was a piano player. After showing an inclination for literature at an early age (he wrote and published eerie short stories, thus following his father’s path) and for music (playing classical guitar until he was 12), Cronenberg graduated from the University of Toronto with a degree in Literature after switching from the science department. He reached the cult status of horror-meister with the gore-filled, modern-vampire variations of Shivers (1975) and Rabid (1977), following an experimental apprenticeship in independent filmmaking and in Canadian television programs.
Cronenberg gained popularity with the head-exploding, telepathy-based Scanners (1981) after the release of the much underrated, controversial, and autobiographical The Brood (1979). Cronenberg become a sort… read more
I'll say it straight away: I don't like Cronenberg's style. It is too dreamy, filled with pointless absurdity and neglected dialogue. However, there is an exception: it's called Videodrome. If a modern film can ever be decribed as "visionary", this is it. Not only is it phenomenal body horror, it asks the viewer about his views, his decisions, and his sexual desires and preferences. And then, the film does its magic.
Updated for the cyber world in Assayas’ Demonlover, Cronenberg’s antecedent in Videodrome remains one of his most ethereal: kinetic camera, ambient synth punctuating the casual sleaze - apropos of its heightened critique of the modern film image’s subversion towards debasement - transcending caricature. Rather, an ominous sense of palpability that finds Woods’ jaded programmer nightmarishly, literally, in over his head, indeed resonating into the 21st century cesspool - that little of Cronenberg’s vicious hallucinogen seems surprising, touts vindication.
Geniale precursore o folle visionario? é questo che ci si chiede dopo aver assistito ad un'opera del genere. Cronenberg affronta il tema della comunicazione di massa,di quanto essa possa condizionare l'intera vita sociale di una comunità e di quanto la violenza trasmessa crei assuefazione.Un senso di angoscia costante,con campi stretti e atmosfere cupe che creano un ambiente narcotizzante.4*
The follow-up to Universal Soldier: Regeneration is a bleak, challenging genre hybrid.
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A stunning new look at Dead Ringers (1998).
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It’s quite simply a masterpiece. There’s no other way to describe David Cronenberg’s 1983 classic. It’s often regarded for it’s visually exciting special effects from the imploding television set to… read review