It is the ultimate David Cronenberg movie with all his perverted themes. Extreme sex, gore, bodypart-fetishes and a story so intense and sick that only this director could do it with such style. This film is filled with gory and sick moments that only an art-film lover can love. Deborah Harry (from 80s supergroup "Blondie" fame) is very seductive with her extreme S&M look. "Long Live the New Flesh
The most madcap of Cronenberg films and the most beholden to analog technology. I remember as a 17-year-old trying to get my A-level drama class to adapt it into Artaudian theatre. I find it odd to find such a scuzzy, dirty film so likeable (which is not generally how I feel about Cronenberg's filmography) - but there we go! Eminently quotable, of course. My therapist is watching it for the first time this week!
Uma experiência absolutamente deslumbrante. Videodrome é uma afirmação quase profética, antecipam-se por largas décadas questões atuais. Condensado numa narrativa sublime o pesadelo, num formato de interface, assusta qualquer um. As suas parafilias digitalmente amplificadas orbitam num plano de entretenimento sádico, alucinatório, grotesco e, ultimamente, atual.
Cronenberg's attempts to cover up the fact that he's not a great writer didn't work on me. Felt like a very insincere movie. Videodrome becomes more and more a mockery of its chosen topic and essentially itself as it carries along. Great film for outdated media theorists to cry prophetic and not move on to more relevant works.
As a statement, it may be the most prescient social-political commentary in a film of all time. Part-observational, part-crystal gazer foreshadowing of media's smokescreen of manipulation and over-stimulation. It also has never been stronger as now in this computer age. As a film, it's less character driven, thus not pulling you into its mindfuck-surrealism, and making its creativity incredibly sterile in emotion.
Released 35 years ago, Videodrome finds an alarming resonance in nowaday's world, with most of the world population absorbed in/by their phone. The violence we all nurture to various degrees finds its shape in amazing hallucinatory scenes where James Wood is becoming prey to his hidden demons. Disturbing and sinister, with B-movie twist which makes the film a fascinating viewing. And Debbie Harry...
I love David Cronenberg. Who would think to vilify and fetishize video as a medium, and in such a quirky, Canadian way? Deborah Harry completes a character arc in one note. It's interesting to study how our threshold for pain (our own and others') connects to our capacity for evil. Was there salvation? What is transfiguration? Weird body memories.
o James Woods é um merdas porque vê a porra de um buraco na barriga e vamos ao médico? não, vamos meter a porra de uma arma lá dentro. foda-se mano tinhas um BURACO NA BARRIGA CHAMAVAS O 112 NINGUÉM TE ENSINOU NADA AI SE FOSSES MEU FILHO CARALHO. melhorava 1000% se o filme fosse só a Debbie Harry a falar para mim de uma mini TV
Cronenberg does McLuhan (and Baudrillard, and a little Foucault...). An orgiastic hour and a half of (literal! visceral!) immersion into media theory - media as extensions of the body; biopower; spectacular realities... Debbie Harry's lips... Beware the temptation to take this as any sort of straightforward moralizing; it's so much more delightful than that. Smart and hilarious. Long live the new flesh!