Cronenberg mixes the weird with the normal in this anti-Hollywood satire that is biting but doesn’t quite touch the clouds.
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Cronenberg mixes the weird with the normal in this anti-Hollywood satire that is biting but doesn’t quite touch the clouds.
One of Cronenberg’s very best films, this is a peak culmination of his body horror exploits with a rare emotional and human core to its storytelling.
A sci-fi body horror movie that stands out in Cronenberg’s ‘80s oeuvre for its special effects and just-as-relevant-today commentary on our obsession with the screen.
This beautifully animated adaptation of several Murakami’s texts is talky and philosophical as it flits between surrealism and a sense of groundedness, urging us to find or create meaning in life even when there might be none.
Cote goes for a more naturalistic style in this meandering and ultimately inconsequential attempt at humanising nymphomania, as three hypersexual women reside in a rest home guided by a therapist and her assistant.
A filthy rich, cold-hearted and adulterous man hopes that his melancholia-stricken wife will recover as Cote’s intriguing work asks what it means to search one’s own soul.
Cote makes the monotony of industrial labour poetic and hypnotic in this decent documentary exploration of what ‘work’ and ‘working’ means to the blue-collar fraternity.
A striking and unconventional film it may be, but Cote doesn’t seem to know what he wants to say with this story of two lesbian ex-convicts futilely hoping for a peaceful life in the woods.
Cronenberg’s new sci-fi body horror is packed with fascinating ideas, but the film somewhat falls short in its half-baked attempt to realise them.
A girl is forced to dress like a boy in Taliban-occupied Afghanistan to help her family make ends meet in this splendidly animated tale that perhaps relies too much on a parallel account of a mythical fantasy to work.