Probably my least favourite Cronenberg in that in style, tone and the basics of its narrative, it's not that dissimilar from paranoid conspiracy thrillers of the same period, which is not a genre I enjoy. Truthfully, I found it a little dull and am not proud to say that I spent much of the time waiting for the infamous head explosion.
That lead was wooden as fuck, i felt like i was watching Keanu Reeves great grandfather attempting to perform Macbeth on celluloid. HAL 9000 from 2001 could of conveyed more range of emotions and delivered a more life like performance than the ridiculously lackluster Mr. Lack(ing).
Early body revulsion piece from Cronenberg, although the greater horror is reserved for more sinister corporate and institutional controls (no less relevant now). Drawing on then-fashionable themes of telekinesis (Carrie, The Fury, etc) and broader conspiratorial motifs, it doesn't elaborate on the central conceit with the early promise giving way to a conventional thriller with little moral or scientific substance.
The main problem with Scanners compared to other typical Cronenberg films is that the telepathy is itself visually uninteresting, and endless scenes of staring gets cheesy quickly, even with an excellent score. There are a few exceptions, but overall it fails to invoke the visceral horror expected, and the somewhat messy plot doesn't help much.
2-3. About halfway through is when the plot really starts to collapse in on itself from complications. How exactly is is that Darryl runs a company owned by Consec when Consec apparently considers him a dangerous individual? What's more, how can he run it without anyone being able to find him, etc.? Still, the early hallmarks of David Cronenberg's work make it an interesting watch in the context of his career.