Crash

Posted on December 15, 2020 by Craig M

Viewed – 12 December 2020 Blu-ray

Very few directors could deliver a movie with subject matter such as this and make it work, without it being exploitation trash, but in the hands of David Cronenberg (The Fly, A History of Violence) what remains an uncomfortable viewing experience somehow still took hold of this viewer. James Spader plays a guy fascinated by car crashes and aroused by the thrill of injury, twisted metal and the sheer violence of it all. Aided by his girlfriend (The Game’s Deborah Unger) they pursue this unhealthy obsession until Spader ends up in hospital. There he meets fellow crash victim Holly Hunter who he discovers is a kindred spirit and before long he’s lead into an underworld of like-minded people who find sexual arousal in near death experiences.

Acted from the off by all involved like they’re on the brink of orgasm, this highly sexual drama is just plain weird and has an atmosphere I’ll admit was initially hard to get into. Cronenberg’s direction however makes everything eerie, borderline hypnotic and very dream-like. However not for a second is it sexy, as Cronenberg gives each sex scene an unnatural and animalistic vibe that’s closer to his brand of body horror than say, Basic Instinct … but it works.

James Spader is perfectly cast, as is Deborah Unger, actors both at ease with uneasy material. However one surprise was Holly Hunter who I’d never usually associate with this kind of thing. Elias Koteas (Zodiac) stands out as a rather freaky medical photographer obsessed with staging recreations of famous car crashes. We also get Rosanna Arquette as a woman in leg callipers who’s involved in a particularly infamous scene. Overall this was a difficult watch. I appreciated much of the atmosphere and the perverse subject was strangely alluring… but was I entertained? No. Worth seeing but definitely not for everyone.

Crash remains quite the controversial movie, and this new, fully uncut limited edition from Arrow Video explores it impressively. The restored 4K Ultra HD image is grainy and nicely detailed, with only occasional softness. However, despite mention of HDR this isn’t a showcase for your TV setup. The same goes for the 5.1 DTS HD Master Audio soundtrack that’s made up mostly of gentle dialogue and Howard Shore’s haunting score. The surrounds get a mild workout mostly in the various driving / highway scenes but nothing all that diverting. However it’s the extras where this release shines. There is a comprehensive booklet covering the making and legacy of the movie, various interviews, featuretts, some David Cronenberg short films, and a commentary by film scholar Adrian Martin. Add to this a double-sided poster and deluxe hardback slip case packaging and this is decent treatment for a polarising yet still worthwhile entry in Cronenberg’s back catalogue.

Verdict:

(the movie) Good

(the Blu-ray) Recommended

Possessor

Posted on December 9, 2020 by Craig M

Viewed – 05 December 2020 online rental

I’ve been a long time fan of director David Cronenberg, and came to this unusual thriller blind, unaware at first that it’s directed by his son Brandon. However shortly into this I began to get those unsettling Cronenberg vibes, with its emphasis on the psychological effects of technology, not unlike Videodrome. This has a woman, Tasya Vos (Andrea Riseborough) who works for a secret organisation who by using a device can transport herself into another person’s body in order to carry out an assassination.

Shot with a visual aesthetic that’s both beautiful and creepy, I was initially gripped by this concept and intrigued how it would play out. We learn early on that Tasya is in a relationship and has a young son, but is away on ‘business’ a lot so finds it hard to relate to them naturally, almost playing a part whenever she’s with them. Therefore she dives into her role as an assassin, mentored by Jennifer Jason Leigh’s agency figure.

However the is let down by a lack of meaning to Tasya’s increasingly brutal kills, seeming to lose control whenever she has to complete her mission. The violence here is drawn out, incredibly graphic and I’ll say … unnecessary. The themes the movie explores of identity, sanity, technology etc are interesting but they get overwhelmed by the gore. This leads to an ending that just didn’t make sense. Director Brandon Cronenberg has many of his father’s sensibilities but little of his depth going by this example. Disappointing.

Verdict: Poor

The Fly

Posted on September 2, 2017 by Craig M

Viewed – 29 August 2017 Blu-ray

It’s hard to believe this movie came out in 1986. It’s look and atmosphere still feel contemporary and semi-futuristic bar some 80s fashions and hair styles. This retelling / remake of the 1950’s b-movie has Jeff Goldblum on star-making form as eccentric scientist Seth Brundel, who after inviting a plucky reporter (Gina Davis) to his lab, reveals he has invented a teleportation device. However after the initial reveal, Brundel decides to teleport himself but makes the mistake of allowing a common house fly inside the pod, therefore setting into motion a grotesque and alarming physical transformation.

This is perfect material for director David Cronenberg (Scanners, Videodrome) who has always had an interest in body-horror and transformation in his movies. However beyond the gory effects (that still impress and revolt) this is a tragic love story. Helped immeasurably by convincing chemistry from the leads (who were a real life couple at the time) and a strikingly complex turn from Goldblum … watching events play out is both emotionally draining and exciting. It’s a very unique kind of horror experience, with no actual evil enemy but more a horrible set of circumstances. In that respect it’s not unlike The Elephant Man. It may be at it’s core fairly simple and only really has three characters … but what Cronenberg achieves with such simple tools is a revelation and made this an instant classic.

The Blu-ray has a decent if slightly soft image but colours are strong and close-up detail is good. The soundtrack in 5.1 DTS HD Master Audio is also effective with atmospherics and Howard Shore’s obvious b-movie throwback score both doing their job. The only slight let down is somewhat mono sounding dialogue that whilst still clear could have done with sprucing up. Extras are plentiful though with an essential commentary from Cronenberg as well as some worthwhile deleted scenes, press kits, behind the scenes stuff and photo galleries. Overall a decent job for a genuine horror gem.

Verdict:

(the movie) 5 /5

(the Blu-ray) 4 /5

Videodrome

Posted on August 22, 2015 by Craig M

Viewed – 22 August 2015 Blu-ray

Collector’s Edition

David Cronenberg has easily cemented himself as one of the most challenging and daring directors to have ever gained mainstream popularity. Perhaps still most famous for the Jeff Goldblum remake of The Fly, this Canadian born visionary film maker has for me, made some of the most powerfully bold and disturbing interpretations of horror I have seen. This 1982 effort saw him break out from obscure fair like The Brood and Shivers and finally deliver his own distinct voice.

Starring James Woods and Deborah Harry (of Blondie) this follows the story of Max Ren, a sleazy cable TV executive on the look out for new material for his network. One day he stumbles upon Videodrome, a broadcast that appears to be purely torture and violence – the exact kind of material he thinks his viewers will want. Only thing is, Videodrome comes with a deadly signal that causes horrific and freakish hallucinations in anyone who watches it.

Despite a meagre budget and fairly basic production values, Cronenberg lavishes the whole movie in a visual style that presents television as a strange new villain in a way that the internet could be perceived the same today. This movie was ahead of it’s time in it’s themes of living through another medium, and even one character refers to us all having different names that we’ll one day take on, sort of like avatars in a chat room. It’s very cleverly observed. Cronenberg tried to lesser extent to bring such ideas into the modern age in his sort-of sequel Existenz which explored videogames instead of television, but it’s here that his concept is at it’s boldest. Deborah Harry is provocative, sexy and daring, not afraid to shed some clothing and portray herself as a self-harming adrenalin junkie, and Woods is perfect as the guy who takes a bite out of the forbidden fruit. Acting isn’t exactly stellar though and supporting cast are amateurish at best. It also get’s a little lost in it’s own hallucinatory world towards the end. But with still impressive make-up work from An American Werewolf In London’s Rick Baker (bar the dodgy gun-hand-thing) and some creative gore along with a few ingenious effects (the breathing TV) – this still had the power to shock and creep this viewer out, even all these year’s later.

This Arrow Video release comes in a limited edition collector’s packaging that has a detailed hardback book exploring the film and Cronenberg’s career with fresh interviews and archival text. The movie has always been in great shape and the same can be said here in a very vivid and clear image with equally crisp sound even if it’s only in mono. Arrow, swiftly becoming my go-to company for great treatment of genre classics, has once again pulled no punches with this release and the extras are simply exhaustive. A commentary by critic Tim Lucas, a number of detailed featurettes and documentaries, behind the scenes footage, a deleted scene and in this limited edition set a few of the director’s early short films. In a word: impressive.

Verdict:

(the movie) 4 /5

(the Blu-ray) 5 /5

10 directors who have shaped my movie viewing tastes

Posted on July 25, 2015 by Craig M

Inspired by a recent post over at abbiobiston.com, I thought I’d sit down and list ten movie directors I either seek out without hesitation, or have made some of the most affecting and inspiring movies I’ve ever seen, shaping what kind of movie viewer I am today and creating experiences that have transcended basic entertainment to actually mean something to me as a person.

Quentin Tarantino

As a reviewer, occasional-writer and movie fan, Quentin Tarantino ignited a spark inside me that has yet to go out. When first seeing Pulp Fiction, I knew this was the sort of material I wanted to write about, and this continued with his script for Natural Born Killers and also his debut, Reservoir Dogs. He was a rebel, he challenged people’s ideas of what violence was all about on screen, not there for just shock value but to make you feel something. He managed to back this up with amazing dialogue writing skills and a keen eye for pop-culture and cinema history that has continued to this day.

David Cronenberg

Horror for me was never just about hiding behind my cushion and trembling – horror for me was about the strange and surreal, the gruesome but in a way that made you ponder what it meant. Croneberg has always been a master of this, of using body-horror to make you feel something you’ve never felt before, backed up by intelligent direction that more often than not has a lot of social commentary of the times we live in i.e. sexually transmitted infections with Shivers. He has continued to shape his often controversial style into the modem gangster and crime genres to brilliant effect in movies like Eastern Promises.

Stephen Spielberg

Probably the most famous director of all time who seems to barely put a foot wrong and can turn his hand to a wealth of different genres and subjects, from the industry defining Jaws and Jurassic Park to powerful masterpieces like Saving Private Ryan and Schindler’s List. Assured, confident and always entertaining and thought-provoking, this maverick director continues to be a name to bet on even after almost 40 years in the business. As long as we don’t mention the most recent Indiana Jones movie, Spielberg remains one of those names every movie fan will know and surely appreciate to some degree.

John Carpenter

Fallen from grace he may be, but during the seventies and eighties, this guy made some of the coolest and most sort after movies I’d ever seen. Who can argue the merits of Halloween, The Thing and Big Trouble In Little China? Although I can’t say I totally appreciate Escape From New York as much as others, I have a soft spot for lesser known efforts like Prince Of Darkness and In The Mouth Of Madness. This guy knew how to create perfectly entertaining genre movies and although he hasn’t made much of note for years, that’s a hell of a back catalogue of classics.

David Fincher

Although I think he’s become a bit relaxed in recent years, churning out fairly ‘safe’ movies, for the most part Fincher has still created some of the most stylish and intricately directed movies I’ve seen, namely the multi layered classics Fight Club, Seven and even Zodiac. His directing style is crisp and beautiful even when it’s dealing with very dark subject matter, and his camera work and imagery have stayed with me long after the credits have rolled. He’s a technical directing fan’s dream director, as for me I can appreciate every aspect of the setting, the camera work to the music and lighting. Helps he can also pull out great performances from the likes of Brad Pitt and Jake Gyllenhaal to name but a few.

Stanley Kubrick

With a fairly small catalogue of movies, this director like no other has made some of the masterpieces of my lifetime. The Shining is still the best horror movie I’ve ever seen and probably the most perfectly directed, on a technical level movie I’ve seen also. His strong visual skill at making every shot and every camera movement look so well executed has made movies even of lesser impact like Eyes Wide Shut a work of art. He proved again and again that careful eye for detail, iconic performances can turn even a well worn subject like the Vietnam war into amazing cinema. I haven’t seen everything he’s done, but of the movies I have, he keeps on amazing me, and is possibly the best director on this list.

Dario Argento

Perhaps at his best during the seventies and eighties, but this often controversial director has gained a strong cult following over the years and remains one of the most stylish and genre-defining film-makers around. At his best he can make gruesome murder look beautiful, and his frequent collaborations with the band Goblin and musician Claudio Simonetti has helped create a brand of effective Italian cinema that still stands the test of time. Try watching Suspiria or Tenebrae without marvelling at the camera work, atmosphere or use of lighting and music. Argento will always be the maestro when it comes to horror, even if his light has considerably faded over the years.

Martin Scorsese

The Don. How does this guy keep doing it? To this day Scorsese still manages to amaze and impress. He has crafted true classics such as Taxi Driver and Goodfellas and still manages to churn out quality movies like Shutter Island and The Wolf Of Wall Street. It’s always exciting when I hear he’s making another movie and even diversions like Hugo retain that Scorsese eye for style and cinematic creativity I’ve grown to love about him. He has a tendency to work with the same actors but also manages to bring out wildly different performances from them, that give each movie their own voice. One of the best film makers of all time in my opinion.

Joel & Ethan Coen

In recent years their brand of southern comedy and thrillers has felt a tad hit and miss, but when these sibling directors are on form, they can make some of the best movies you’ll ever see. Comedies like The Big Lebowski and Raising Arizona offer up laughs as well as style and assured direction along with iconic performances, and thrillers like Fargo and No Country For Old Men prove they can deliver tight, well executed stories that pack a punch. They continue to be favourites at Oscar season and amongst a huge cult audience, and with a strong visual style and often award winning performances, their movies are hard to dismiss.

Park chan-Wook

Another director who can explore very dark themes but make them beautiful with imaginative camera work, scene setting and particularly artistic shots. His American debut Stoker is a perfect example of strong story, strong performances and beautiful, almost poetic direction. His vengeance trilogy that incudes the cult classic Old Boy is powerful, gut-wrenching but extremely moving and artistic, blending classical music with striking story-telling and stunning cinematography. Park chan-Wook’s the real deal if you can appreciate quality direction with a signature touch.