Reseñas de la crítica

This is a slick and engaging existential thriller that moves at a brisk pace...

Cronenberg’s decision to shoot the special effects in camera, and to rely on prosthetics and practical effects rather than post-hoc computer graphics, pays huge dividends. Scenes of faces melting and bodies merging have a satisfyingly tactile feel, harking back to the experimental cinematic trickery of Georges Méliès, albeit with added 21st-century oomph. There’s a real physical depth to "Possessor" that helps keep the story grounded even during its most outlandish flights of fantasy.

Possessor is overflowing with cool ideas, yet seems... uncertain about what to do with them.... Cronenberg tackles everything from surveillance culture and corruption to race and corporate greed, but struggles to really say anything about any of them. You can understand why Cronenberg Jr wouldn’t want his father in the editing room, but it may have helped somewhat.

There is a pleasingly analogue feel to the gadgets and technology that mercifully avoids the off-the-shelf 1980s-ness of so many of "Possessor’s" contemporaries, aiming instead for sterile grubbiness and alienation. Underneath its sliding textures and evocative themes, this is a film about the fundamental instability of modern identity, brilliantly and often uncomfortably evoked.

Lit in bright, sickly hues, and with the scenes between Tasya and Colin unfolding in an uncanny interzone of distorted masks and psychedelic abstractions, "Possessor" is as visually arresting as it is at times bludgeoningly brutal. While the kind of mind-transfer that drives its plot is pure science fiction, it clearly riffs off our online age of handles and avatars, of first-person shooters and POV porn, of vicarious experiences and constructed identities.

"Possessor" is, above all, an ultra-violent sci-fi-horror freak-out that will probably have you hiding your face in your hands... But the gore has to be seen in the context of a strangely ingenious and interestingly thought-through story that has the most outrageous and disturbing final twist imaginable.

Cronenberg by name, Cronenberg by nature. "Possessor" sees Brandon wading into territory often explored by his father, but there’s more than enough originality here, visually and thematically, to prevent this from being a mere cover version.

Cronenberg has a clear eye and ear for detail, with furniture that resembles severed spinal cords, and an echoey, textured soundtrack which proves as sinister as the scenes of extreme brutality. The film balances its visceral style with a cerebral thesis right up until its climactic scenes.

Clearly informed by his father’s work, writer-director Brandon Cronenberg has created a film that traffics in a similarly uncomfortable vein of body horror. Visceral violence and splattered plasma provide the messy window dressing for a narrative that explores the experience of losing one’s sense of self...Steeped in big ideas and gallons of artificial haemoglobin, "Possessor" is a messy cinematic journey that leaves some of the dot-connecting to you.

If "Possessor" ultimately feels more like a testament to its director’s excellent taste in influences than a film that entirely gels in itself, it’s still a thoroughly troubling watch.

Sometimes humor is the best way to communicate really sharp ideas and concepts..."Possessor" is humorless, start to finish. Its energy is ponderous and glum, and the provocative ideas are not given a chance to really take on a life of their own. Still, there's much here that is imaginative and fresh.

On one hand, ["Possessor"] hews even closer to daddy David’s career-long fixations: the permeability of flesh, the malleability of identity, the physical threat of modern technology, the psychological oppression of modern architecture. At the same time, however, it shows Brandon Cronenberg to be a writer-director with bold ideas and a way of executing them that’s distinctly his own.