'Possessor: Uncut' (2020) Movie Review

The name Cronenberg conjures up images of creeping body horror, twisted psychological pressure, and real nightmare shit. And apparently it’s a familial trait. David Cronenberg delivered classics like Scanners, The Fly, Eastern Promises, and many more, and his son, Brandon Cronenberg, has fully picked up his mantle. And the body horror apple doesn’t fall far from the body horror tree, illustrated to perfection by his sophomore feature, Possessor: Uncut.

'Possessor' Trailer: Brandon Cronenberg Delivers Gruesome, Gory Sci-Fi

With the name Cronenberg, you have our immediate attention. You’re probably thinking David Cronenberg, director of Scanners, The Fly, Eastern Promises, and a ton of other masterpieces. This time, however, we’re talking about his son, Brandon Cronenberg, who has become a filmmaker of some renown in his own right. And from the look of this red band trailer for his sophomore feature, Possessor, the body horror apple doesn’t fall far from the body horror tree. Check it out. 

'Piercing' (2018) Movie Review

I make no secret that I dislike Nicolas Pesce’s debut, The Eyes of My Mother. It’s a lovely film to look at, but the script feels like a bunch of bros sitting around pounding beers, trying to one-up each other with “the most messed up thing” they can think of and it rings like hollow attempts to shock with no weight behind them. But it does show Pesce’ skills as a visual storyteller and my initial reaction was, “If he ever gets a good script…” While his follow-up, Piercing, doesn’t quite fulfill his potential, it’s at least a step in that direction.

'Sweet Virginia' (2017) Movie Review

Over the past few years, Taylor Sheridan has won acclaim for writing gritty crime dramas like Sicario and Hell or High Water, and his directorial debut, Wind River. Director James M. Dagg, working from a script by the China Brothers, tries to get in on that act with Sweet Virginia. His sophomore feature dredges similar aesthetic and thematic territory. While it succeeds on some fronts, it hits less hard on others, though the finished product is a serviceable, if unremarkable, mumblecore neo-noir.

'It Comes At Night' (2017) Movie Review

Grim, bleak, desolate. These are just a few accurate words to describe It Comes at Night, the moody new slow-burn horror joint from writer/director Trey Edward Shults (Krisha). An unrelenting apocalyptic mood piece about how people cope with the end of the world, vagaries and uncertainty abound, and the oppressive downer nature is certain to crush the spirit and will to live of many a viewer. Which means it’s my kind of bummer.