Thu Oct 24, 9:30 PM - Thu Oct 24, 11:30 PM
711 N Franklin Street, Tampa, FL 33602
Community: Downtown Tampa
Description
Did you know: David Cronenberg thinks The Brood is the only real horror movie he’s made? Let that sink in. He’s either got a really unusual conception of horror movies or a really unusual understanding of what horrifies other people.
Event Details
1h 32m / R / Horror
He wrote and directed The Brood fresh out of an extremely acrimonious and painful divorce, and, uh, it shows. Best understood as a companion piece with Scanners (similar locations, same soundtrack composer, similar plot beats and character archetypes, same creepy aliens-cast-in-a-soap-opera pacing and dialogue), The Brood turns the breakdown of a marriage and a custody fight into a freakish supernatural battle, lampoons a sadistic form of particularly-‘70s-flavored psychotherapy, showcases the director’s tense formality and Grand-Guignol practical effects, and really turns the “bad mother” trope into a level of monstrousness that has to be seen to be believed.
Cronenberg’s main target is Dr. Raglan (Oliver Reed), the creator of “psychoplasmics,” a hands-on, primal psychodrama that produces head-clearing catharsis and bizarre physical transformation, especially in his prize patient, the beautiful but disconnected Nola (Samantha Eggar). Art Hindle plays Nola’s estranged, heroic husband; his determination to protect their daughter (Cindy Hinds) gets tested in the most terrible ways. Like: terrible. Critics hated this movie — Roger Ebert rhetorically asked whether anybody likes crap like this, and Leonard Maltin descended into a brief manic fugue before calling it a “bomb.” But like so much of Cronenberg’s early work, it’s so singular, such a persistent and shocking bad dream, the amazement of experiencing it is worth the grossness of having to actually see it.
A Nightmare on Franklin Street 2019 is presented by Voodoo Ranger and J.J. Taylor Distributing Florida, Inc. Promotional consideration is provided by Spooky Empire.
He wrote and directed The Brood fresh out of an extremely acrimonious and painful divorce, and, uh, it shows. Best understood as a companion piece with Scanners (similar locations, same soundtrack composer, similar plot beats and character archetypes, same creepy aliens-cast-in-a-soap-opera pacing and dialogue), The Brood turns the breakdown of a marriage and a custody fight into a freakish supernatural battle, lampoons a sadistic form of particularly-‘70s-flavored psychotherapy, showcases the director’s tense formality and Grand-Guignol practical effects, and really turns the “bad mother” trope into a level of monstrousness that has to be seen to be believed.
Cronenberg’s main target is Dr. Raglan (Oliver Reed), the creator of “psychoplasmics,” a hands-on, primal psychodrama that produces head-clearing catharsis and bizarre physical transformation, especially in his prize patient, the beautiful but disconnected Nola (Samantha Eggar). Art Hindle plays Nola’s estranged, heroic husband; his determination to protect their daughter (Cindy Hinds) gets tested in the most terrible ways. Like: terrible. Critics hated this movie — Roger Ebert rhetorically asked whether anybody likes crap like this, and Leonard Maltin descended into a brief manic fugue before calling it a “bomb.” But like so much of Cronenberg’s early work, it’s so singular, such a persistent and shocking bad dream, the amazement of experiencing it is worth the grossness of having to actually see it.
A Nightmare on Franklin Street 2019 is presented by Voodoo Ranger and J.J. Taylor Distributing Florida, Inc. Promotional consideration is provided by Spooky Empire.
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