Action / Horror / Mystery / Sci-Fi / Thriller

Rotten Tomatoes Critics - Certified Fresh 80%
Rotten Tomatoes Audience - Upright 81%
IMDb Rating 7.3 10 70434


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June 19, 2018 at 03:34 AM


James Woods as Max Renn
David Cronenberg as Max Renn in helmet
Deborah Harry as Nicki Brand
Jayne Eastwood as Woman Caller
720p.BLU 1080p.BLU
550.87 MB
23.976 fps
1hr 27 min
P/S 11 / 64
1.39 GB
23.976 fps
1hr 27 min
P/S 7 / 70

Movie Reviews

Reviewed by crystallogic 8 / 10

Long live the New Flesh

This is a deeply disquieting film that never loses it's power to make me feel unsettled. It's my favourite Cronenberg picture by a considerable margin, tough admittedly I haven't tried them all yet.

You might find, in 2018, the tech to belong in a museum. maybe you don't like TV very much and so the problems of a person finding themselves in the videodrome seem remote to you. but think about it this way, then. What would today's videodrome be like? Nope, this isn't an invitation for some idiot to re-make Cronenberg's film. i'm just saying: surely this film is even more powerful today than it was in 1983? I don't like TV either. Haven't had cable for nearly twenty years! Don't miss it or want it. But ... I, and in fact most of my friends, spend an awful lot of time on the internet. I even got an Android phone, which can be used to view all kinds of video content. We don't need networks anymore. All we need is a distribution system (much cheaper and more flexible than the television network) and the people to make content.

I love the notion of a signal activating something in the brain that creates a new "growth" that can lead to mind-altering halucinations, which stay with you and affect your reality even when you're not watching the box. That's brilliant. Also very scary to contemplate. The movie does an excellent job of pushing the "horror" buttons, particularly with regard to Max's situation and descent to becoming a pawn in other peoples' games. I love the way the film sets up this terrible situation and makes the audience itself feel the mounting paranoia. By the end I didn't feel anyone was trustworthy. I feel like Cronenberg revisted a lot of his films in the adaptation of The Naked Lunch, another film I really appreciated, almost as much as this one, really.

Reviewed by Scott LeBrun 8 / 10

It has a philosophy, and that is what makes it dangerous.

This stunning film, grim and graphic at nearly every turn, is an incredible early work by David Cronenberg when he was still into his "body horror" cycle. ("The Dead Zone", done the same year, broke him free for a moment.) James Woods delivers an amiable performance as Max Renn, operator / part owner of a small time cable TV station. He's looking for edgy new programming, and his employee Harlan (Peter Dvorsky) shows him the pirated transmissions of a hideous series dubbed "Videodrome". There are no stories to speak of, it's just straight-ahead torture and degradation. Well, as it turns out, viewing Videodrome causes freaky and strikingly violent hallucinations for just about anybody.

Taking a journey into the worlds of David Cronenberg is always interesting, if nothing else. And "interesting" is never a bad quality to possess. Some people may wince at the effects sequences in these early movies, but they are evidence of the way that Cronenberg could often appeal to adult intellects as well as affect them at gut level.

Here, he hypothesizes that television and technology are so ingrained into human experience and existence that they can become part of our physical makeup, so to speak. His themes are prophetic; "Videodrome" could be seen as a way-ahead-of-the-game forerunner to the "torture porn" sub genre that exploded in the 21st century. And the desire for some networks and stations to try to draw people in with entertainment that they can't get anywhere else has remained relevant over the decades.

Approximately 35 years later, the wonderfully gross Rick Baker effects lose none of their power to amaze. This viewer was particuarly delighted by the pulsating videotape and television set, and by that "flesh gun" that results when a regular gun is fused into Max's body.

Cinematographer Mark Irwin and composer Howard Shore do typically excellent work. This is also a nice showcase for a solid cast: Woods, Sonja Smits, Deborah Harry (the Blondie singer looks VIVACIOUS, and is intriguing as an enigmatic woman who gets off on physical pain), Lynne Gorman, Jack Creley, Dvorsky, and Les Carlson as Barry Convex, the villain of the piece.

After all this time, the new flesh is still living a very long life.

Eight out of 10.

Reviewed by Woodyanders 9 / 10

Make way for the New Flesh

Sleazy small-time TV programmer Max Renn (James Woods in top slimy form) discovers an extremely brutal new show called Videodrome that proves to be all too realistic. Pretty soon Renn finds himself caught up in a nebulous and perilous alternate world of kinky sex, sadistic violence, and deadly political conspiracies.

Writer/director David Cronenberg offers a trenchant and uncannily prophetic critique of the media's potentially toxic and damaging influence on people's minds, with a specific emphasis on how the sensory overload from said media can beget a dangerous blurring of the fine line that separates reality from fantasy. Moreover, Cronenberg predicts with alarming accuracy certain aspects of the early 21st century which include the rise in popularity of harsh BDSM adult websites like and an advanced technological landscape where everyone has a special name (hmm, that sounds kind of like the internet, now doesn't it?). Debbie Harry makes a favorable impression as the slinky and enticing Nicki Brand, Sonja Smits registers well as the shrewd Bianca O'Blivion, Les Carlson positively oozes as the duplicitous Barry Convex, and Peter Dvorsky smarms it up nicely as no-count pirate Harlan. Kudos also are in order for Mark Irwin's polished cinematography, Howard Shore's spare chilling score, and Rick Baker's strikingly grotesque make-up f/x. The New Flesh lives on!

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