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Review: Brandon Cronenberg’s ‘Possessor’ is Heady, Gory, Must See Sci-Fi




Brandon Cronenberg — son of the legendary David Cronenberg — is a talented chip off the old block. Though Possessor is only his second feature, Cronenberg has created a complex and fascinating film that will dig its way into your brain and stay there, percolating, long after you’ve seen it. It’s cruel, clever, and compelling, and it’s possibly the best film of the year. 

In Possessor, Tasya Vos (Andrea Riseborough, Mandy) is the top agent at a shadowy organization that uses advanced medical technology to implant her consciousness into the body of a carefully selected host. She uses these unwilling actors to commit brutally violent assassinations at the direction of the company, pulling her out before the host is forced to self-terminate. It’s the perfect crime — all eyes are on the host, whose death effectively ties up any loose ends. But the more missions Vos embarks on — taking residence inside someone else, adopting their personality and mannerisms through meticulous observation — the more she loses herself. When Vos takes over the body of Colin Tate (Christopher Abbott, It Comes At Night), she finds herself losing control to his consciousness, embroiling them in a battle of wills that threatens to destroy them both. 

Riseborough and Abbott are absolutely flawless. Vos is balancing her own confused identity with the weight of the murders she’s committed; she’s alienated from her family and any sense of normalcy, and her focus on her job becomes all-encompassing. Riseborough is phenomenal as Vos stoically struggles to connect. Though she doesn’t have as much screen time, her presence is carried throughout. You can feel her through each scene, hovering just in the back of your mind. 

Abbott has both Tate and Vos behind the wheel, shifting through different mental states with razor-sharp precision. One “calibration” scene turns the literal emotional dial from one extreme to the next, and Abbott absolutely nails the transitions. He flexes his well-honed acting muscles, pulling pathos through the character’s complex confusion and torment. Possessor’s performances are often subdued (until they very much aren’t), but every motion — every micro-expression — is nuanced perfection.

Karim Hussain’s (Random Acts of Violence, We Are Still Here) cinematography is nothing short of brilliant, with a meticulous balance of lighting, color, camera movement and placement. He dials scenes down and blows them up in equal measure, pulling you through a moody ebb and flow. Possessor has a unique and distinct texture — you can feel this film.`

Every design element of Possessor works in well-planned harmony, offering strong support to the well-crafted story. Visual effects melt and bleed into the action. The overall effect is impressively cohesive. Cronenberg has crafted a brave new world with dystopian leanings and unexplored depth that goes beyond the events we see on screen. 

Possessor is a rather heady film, dealing with themes of moral corruption, body dysmorphia, and surveillance capitalism with punches of abstract imagery and ruthless violence. And it is ruthless — shot in close-up, every seamless stabbing and brutal beating is inescapable. Not for the faint of heart, Possessor is heavy, bold, unflinching sci-fi horror at its best. 

I would love to say more, but Possessor demands to be seen. If you’re a fan of his father’s work, rest assured that Cronenberg follows in his footsteps when it comes to body horror and misused technology. He travels down that familiar road, but the whole trip is dramatically different, and with a final destination unlike anything you’ve seen before.


Possessor is set for release on October 2, 2020. You can check out the trailer here.

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Jean-Claude Van Damme Rumored to Appear as a Ghost in ‘Beetlejuice 2’




During The Hot Mic Podcast, the crew spoke about Jenna Ortega in talks to play Lydia’s daughter. Well, it turns out that the guys on Hot Mic also heard that an aging action star is set to play a ghost in the sequel as well. Over on Arrow in the Head, the direction of the aging action star immediately took the shape of Jean-Claude Van Damme. However, there are options out there that may point to other action stars like Sylvester Stallone. To be honest we would be totally fine with either of these guys coming to the world of Beetlejuice and playing a ghost.

The synopsis for Beetlejuice went like this:

After Barbara (Geena Davis) and Adam Maitland (Alec Baldwin) die in a car accident, they find themselves stuck haunting their country residence, unable to leave the house. When the unbearable Deetzes (Catherine O’Hara, Jeffrey Jones) and teen daughter Lydia (Winona Ryder) buy the home, the Maitlands attempt to scare them away without success. Their efforts attract Beetlejuice (Michael Keaton), a rambunctious spirit whose “help” quickly becomes dangerous for the Maitlands and innocent Lydia.

We can’t wait to find out if this bit of info is true. So far, we know that Jenna Ortega has been in talks to play Lydia’s daughter in the Tim Burton directd sequel. It will also see a return of Michael Keaton.

We will be sure to keep you updated on future Beetlejuice sequel updates.

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‘The Lighthouse’ Comes to Special 4K UHD A24 Collectors Release




If it is one thing we know it is that we love Robert Eggers. Between The VVitch and The Lighthouse we were made into huge fans. Next up, Eggers will take on Nosferatu. In the meantime, A24 has released a very special edition release of The Lighthouse on 4K UHD.

The synopsis for The Lighthouse goes like this:

Two lighthouse keepers try to maintain their sanity while living on a remote and mysterious New England island in the 1890s.

Disc extras include:
○ Director’s Commentary with Robert Eggers
○ Exclusive mini-documentary on composer Mark Korven
○ Costume walkthrough and interview with costume designer Linda Muir
○ 2019 making-of featurette
○ Deleted scenes Book contents include:
○ Storyboard excerpts by David Cullen
○ Production design drawings by Craig Lathrop
○ BTS photography by Eric Chakeen
○ Bib-front shirt pattern made by Marvin Schlichting to Linda Muir’s design

We can’t wait to add this one to our collection. You can pick up your very own copy right over HERE at A24.

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‘Scream VII’ Greenlit, But Should the Franchise Take a Decade-Long Rest Instead?



Bam! Bam! Bam! No that’s not a shotgun inside the bodega in Scream VI, it’s the sound of producer’s fists rapidly hitting the green light button to further franchise favorites (i.e. Scream VII).

With Scream VI barely out of the gate, and a sequel reportedly filming this year, it seems horror fans are the ultimate target audience to get ticket sales back at the box office and away from “press play” streaming culture. But maybe it’s too much too soon.

If we haven’t learned our lesson already, banging out cheap horror movies in quick succession isn’t exactly a fool-proof strategy to get butts in theater seats. Let’s pause in a moment of silence to remember the recent Halloween reboot/retcon. Although the news of David Gordon Green blowing off the gossamer and resurrecting the franchise in three installments was great news in 2018, his final chapter did nothing but put the tarnish back on the horror classic.

Universal Pictures

Possibly drunk on the moderate success of his first two films, Green advanced to a third one very quickly but failed to provide fan service. Criticisms of Halloween Ends mainly hinged on the lack of screen time given to both Michael Myers and Laurie Strode and instead on a new character that didn’t have anything to do with the first two films.

“Honestly, we never once considered making a Laurie and Michael movie,” the director told Moviemaker. “The concept that it should be a final showdown-type brawl never even crossed our minds.”

How’s that again?

Although this critic enjoyed the last film, many found it off-course and perhaps a stand-alone that should have never been connected to the redeveloped canon. Remember Halloween came out in 2018 with Kills releasing in 2021 (thanks to COVID) and finally Ends in 2022. As we know, the Blumhouse engine is fueled by brevity from script to screen, and although it can’t be proven, hammering out the last two films so quickly might have been integral to its critical undoing.

Which brings us to the Scream franchise. Will Scream VII get underbaked purely because Paramount wants to reduce its cooking time? Also, too much of a good thing can make you sick. Remember, everything in moderation. The first movie was released in 1996 with the next almost exactly a year later, then the third three years after that. The latter is considered the weaker of the franchise, but still solid.

Then we enter the decade release timeline. Scream 4 released in 2011, Scream (2022) 10 years after that. Some may say, “well hey, the difference in release times between the first two Scream movies was exactly that of the reboot.” And that is correct, but consider that Scream (’96) was a film that changed horror movies forever. It was an original recipe and ripe for back-to-back chapters, but we are now five sequels deep. Thankfully Wes Craven kept things sharp and entertaining even through all the parodies.

Conversely, that same recipe also survived because it took a decade-long hiatus, giving new trends time to develop before Craven attacked the newer tropes in another installment. Remember in Scream 3, they still used fax machines and flip phones. Fan theory, social media and online celebrity were developing fetuses at that time. Those trends would be incorporated into Craven’s fourth movie.

Fast-forward another eleven years and we get Radio Silence’s reboot (?) which made fun of the new terms “requel” and “legacy characters.” Scream was back and fresher than ever. Which leads us to Scream VI and a change of venue. No spoilers here, but this episode seemed oddly reminiscent of re-hashed past storylines, which may have been a satire in and of itself.

Now, it’s been announced that Scream VII is a go, but it leaves us to wonder how such a short hiatus is going to fare with nothing in the horror zeitgeist to channel. In all of this race to get the big bucks, some are saying Scream VII could only top its predecessor by bringing back Stu? Really? That, in my opinion, would be a cheap effort. Some also say, that sequels often bring in a supernatural element, but that would be out of place for Scream.

Could this franchise do with a 5-7 year hiatus before it ruins itself on principle? That break would allow time and new tropes to develop — the franchise’s life’s blood — and mostly the power behind its success. Or is Scream heading into the “thriller” category, where the characters are just going to face another killer(s) in a mask without the irony?

Perhaps that is what the new generation of horror fans want. It could work of course, but the spirit of the canon would be lost. True fans of the series will spot a bad apple if Radio Silence does anything uninspired with Scream VII. That’s a lot of pressure. Green took a chance in Halloween Ends and that didn’t pay off.

All that being said, Scream, if anything, is a masterclass at building hype. But hopefully, these movies don’t turn into the campy iterations they make fun of in Stab. There is still some life left in these films even if Ghostface doesn’t have time to catnap. But as they say, New York never sleeps.

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