About once a month, Cinelinx will chose one director for an in-depth examination of the “signatures” that they leave behind in their work. This week, we’re examining the trademark style and calling signs of David Cronenberg as director.
Cronenberg first became interested in film during college, where he self-taught himself the art before establishing a co-op to produce films. His first feature length films were art-house movies, Stereo (1969) and Crimes of the Future (1970). Shivers (1975) was his breakthrough. That film received a lot of attention because although people were talking about it, they were divided in regards to its vulgarity, especially considering the fact that it was funded by the Canadian government. Still, it was the most profitable film funded by the Canadian government up to that point. His follow up was Rancid (1977) which was commercially successful. His next movie took a break from body horror to explore his love of cars and racing.
Cronenberg first became interested in film during college, where he self-taught himself the art before establishing a co-op to produce films. His first feature length films were art-house movies, Stereo (1969) and Crimes of the Future (1970). Shivers (1975) was his breakthrough. That film received a lot of attention because although people were talking about it, they were divided in regards to its vulgarity, especially considering the fact that it was funded by the Canadian government. Still, it was the most profitable film funded by the Canadian government up to that point. His follow up was Rancid (1977) which was commercially successful. His next movie took a break from body horror to explore his love of cars and racing.
- 7/29/2015
- by feeds@cinelinx.com (G.S. Perno)
- Cinelinx
Crash
Written and directed by David Cronenberg
Canada, 1996
While the 1996 adaption of J.G. Ballard’s novel of the same name isn’t entirely Cronenberg’s deformed brainchild, his chilly, detached direction lends itself perfectly to the atmosphere and mood of the film that portrays the streets of Toronto as a sea of machinery and metallic debauchery. This doesn’t, however, undermine the layer of humanism that’s trying to budge above the surface. The film ultimately chronicles characters trying to do something they don’t know how to achieve, and the inherent sadness and contradiction of trying to connect on a humanistic level through the passionless, cut off nature of machinery.
The film never explicitly sates the intentions of the now permanently disfigured members of this machinery obsessed sexual collective, but they more apparent the deeper they get into the rabbit hole of kinky sex and machinery. What feels like...
Written and directed by David Cronenberg
Canada, 1996
While the 1996 adaption of J.G. Ballard’s novel of the same name isn’t entirely Cronenberg’s deformed brainchild, his chilly, detached direction lends itself perfectly to the atmosphere and mood of the film that portrays the streets of Toronto as a sea of machinery and metallic debauchery. This doesn’t, however, undermine the layer of humanism that’s trying to budge above the surface. The film ultimately chronicles characters trying to do something they don’t know how to achieve, and the inherent sadness and contradiction of trying to connect on a humanistic level through the passionless, cut off nature of machinery.
The film never explicitly sates the intentions of the now permanently disfigured members of this machinery obsessed sexual collective, but they more apparent the deeper they get into the rabbit hole of kinky sex and machinery. What feels like...
- 4/12/2015
- by James Waters
- SoundOnSight
Scandal did the time warp this week, propelling the story 10 months from the end of the previous episode. Olivia's hair is straight and she's wading back into the dating pool. And the regular pool. She also looks fantastic for having not slept at all. Maybe it's the coffee. Or the red wine.
Fitz, however, is deteriorating under the weight of the world that rests on his shoulders without his trusty sidekicks to help him shoulder the load.
Yes, "Whiskey Tango Foxtrot" was another sold episode of this breakout hit. One that, while a little sleepy at times, had a jaw-dropping, and creepy, ending. Wtf, indeed, Scott Foley!
Poor David Rosen. The guy cannot catch a break. First he loses the Lindsey Dwyer case. Then he's made to look foolish in front of the Grand Jury and loses his job. And then he can't find a job at any law firm in D.
Fitz, however, is deteriorating under the weight of the world that rests on his shoulders without his trusty sidekicks to help him shoulder the load.
Yes, "Whiskey Tango Foxtrot" was another sold episode of this breakout hit. One that, while a little sleepy at times, had a jaw-dropping, and creepy, ending. Wtf, indeed, Scott Foley!
Poor David Rosen. The guy cannot catch a break. First he loses the Lindsey Dwyer case. Then he's made to look foolish in front of the Grand Jury and loses his job. And then he can't find a job at any law firm in D.
- 2/15/2013
- by miranda.wicker@gmail.com (Miranda Wicker)
- TVfanatic
To celebrate the upcoming release of Drive Angry 3D, we look back at cinema’s most dangerous road users, and why you definitely wouldn’t want to get in a car with them…
It's a familiar horror scenario: you're hitching a lift, and against your better judgement, you get in a car with someone you gradually realise isn't entirely stable. Too late, you notice the huge black bin bags on the back seat, and as the driver skitters off down the road as though the forces of hell are at his tyres, you quietly pray that those bin bags aren't full of dismembered body parts.
This actually happened to me about a dozen years ago (I was the hitcher, not the drive), and while I never discovered the contents of those sinister bin bags, I was eventually deposited safely at my destination by the kind, yet terrifying driver.
Get in...
It's a familiar horror scenario: you're hitching a lift, and against your better judgement, you get in a car with someone you gradually realise isn't entirely stable. Too late, you notice the huge black bin bags on the back seat, and as the driver skitters off down the road as though the forces of hell are at his tyres, you quietly pray that those bin bags aren't full of dismembered body parts.
This actually happened to me about a dozen years ago (I was the hitcher, not the drive), and while I never discovered the contents of those sinister bin bags, I was eventually deposited safely at my destination by the kind, yet terrifying driver.
Get in...
- 2/4/2011
- Den of Geek
Jake Sully (Sam Worthington) and Neytiri (Zoe Saldana), Avatar
Chuck (Adam Sandler) and Larry (Kevin James), I Now Pronounce You Chuck and Larry
Laura Kensington (Charlize Theron) and CW Briggs (Woody Allen), The Case of the Jade Scorpion
Hank Grotowski (Billy Bob Thornton) and Leticia Musgrove (Halle Berry), Monster's Ball
Sheila Kingston (Rosie O'Donnell) and Fred Lavery (Dan Aykroyd), Exit to Eden
He (Willem Dafoe) and She (Charlotte Gainsbourg), Antichrist
Caleb (Kirk Cameron) and Katherine Holt (Erin Bethea), Fireproof
Dr. Nick Cavanaugh (Julian Sands) and Helena (Sherilyn Fenn), Boxing Helena
Harry Angel (Mickey Rourke) and Epiphany Proudfoot (Lisa Bonet), Angel Heart
James Ballard (James Spader) and Helen Remington (Holly Hunter), Crash...
Chuck (Adam Sandler) and Larry (Kevin James), I Now Pronounce You Chuck and Larry
Laura Kensington (Charlize Theron) and CW Briggs (Woody Allen), The Case of the Jade Scorpion
Hank Grotowski (Billy Bob Thornton) and Leticia Musgrove (Halle Berry), Monster's Ball
Sheila Kingston (Rosie O'Donnell) and Fred Lavery (Dan Aykroyd), Exit to Eden
He (Willem Dafoe) and She (Charlotte Gainsbourg), Antichrist
Caleb (Kirk Cameron) and Katherine Holt (Erin Bethea), Fireproof
Dr. Nick Cavanaugh (Julian Sands) and Helena (Sherilyn Fenn), Boxing Helena
Harry Angel (Mickey Rourke) and Epiphany Proudfoot (Lisa Bonet), Angel Heart
James Ballard (James Spader) and Helen Remington (Holly Hunter), Crash...
- 1/12/2010
- by Dustin Rowles
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