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Spider (2003)
Tomatometer
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Reviews Counted:33
Fresh:29
Rotten:4
Average Rating:7.6/10
Consensus: Ralph Fiennes is brilliant in this accomplished and haunting David Cronenberg film.
Runtime: 1 hr 39 mins
Genre: Dramas
Theatrical Release:Feb 28, 2003 Limited
Box Office: $1,278,369
Synopsis:
The details of life are acute to Spider (Ralph Fiennes), who is in a constant struggle to overcome a traumatic event early in his life that forever shapes the real world he is forced to reside in....
The details of life are acute to Spider (Ralph Fiennes), who is in a constant struggle to overcome a traumatic event early in his life that forever shapes the real world he is forced to reside in. He has been allowed to give life a second chance after a long stay in a mental institution and returns to the streets of the East End of London where he grew up; sent to a halfway house under the stern, but unsupervised watch of Mrs. Wilkenson (Lynn Redgrave).
The sights, sounds and smells of being reacquainted with his old neighborhood send Spider further down a shadowy path that reawakens memories of his where his mother (Miranda Richardson) and his father (Gabriel Byrne) raised him.
His freedom from the sterile and medicated environment afforded by the institution gives rise to an unfolding mystery that surrounds his youth. As he revisits the familiar streets, Spider soon begins to uncover the real truth, shifting seamlessly back and forth between the tragic events that polarized a boy’s adolescence to the shell of a man enduring the surreal plausible reality of today.
Further complicating matters, the halfway house only seems to both confuse and focus his perceptions at the same time. Terrance (John Neville), who also lives in the house, is a kindred spirit and supplies a certain comfort that has been absent from Spider’s life. While Mrs. Wilkenson starts to personify his delusional account of his past, leading Spider to question his own memories.
Based on the compelling novel by Patrick McGrath, who also adapts the screenplay, the gothic and fantastical world that director David Cronenberg conjures up with SPIDER immerses the audience into the depths of a deeply disturbed boy who has crafted a reality all his own; a reality that takes him to the very limits of his faltering sanity. -- © Sony Pictures Classics
Starring: Ralph Fiennes, Miranda Richardson, Gabriel Byrne, Bradley Hall
Starring: Ralph Fiennes, Miranda Richardson, Gabriel Byrne, Bradley Hall, John Neville, Lynn Redgrave
Director: David Cronenberg
Director: David Cronenberg
Screenwriter: Patrick McGrath
Producer: David Cronenberg
Composer: Howard Shore
Studio: Sony Pictures Classics
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Reviews for Spider
It's a pleasure to watch such an understated treatment of potentially sensational subject matter.
Although languid to a fault, Spider offers some payoff for those with enough patience to stick it out.
Spider isn't nearly as disturbing as it is intriguing, despite its subject matter.
A dark, brilliant journey into memory and schizophrenia whose peeled-back layers reveal an unexpected heroism.
Cronenberg manages a scrupulously constructed version of McGrath's novel about a schizophrenic.
Spider is, in fact, a marvel, but it's also prickly, slow, withdrawn, and small enough to fit in the palm of your hand.
An eensy-weensy movie sustained by two utterly gigantic performances.
The details of the film and of the performances are meticulously realized; there is a reward in seeing artists working so well. But the story has no entry or exit, and is cold, sad and hopeless. Afterward, I feel more admiration than gratitude.
A difficult film, but an inspired one, the movie equivalent of eating a meal of artfully prepared eel or sea urchin.
Cold as the film may seem, Cronenberg's nightmare talent has rarely been at such a high, terrifying boil.
Working from Patrick McGrath's script and novel, Cronenberg delivers his most austere film to date.
Spider, David Cronenberg's latest, shows the director once again at the top of his form.
Filmmakers always gamble with an audience's sympathy when they resort to narrative trickery. I would argue that Mr. Cronenberg and Mr. McGrath have lost their gamble, though I can't help honoring their high-minded intentions.
What is the point of a gothic Edward Gorey riddle if it’s got all of the depression and none of the drollery?
After a while, it becomes clear that Cronenberg’s game plan is unchanging; scene after shadowy scene proceeds in the same lockstep.
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