Mary Poppins Returns
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All Critics (19)
| Top Critics (3)
| Fresh (15)
| Rotten (4)
| DVD (1)
[Cronenberg's] rapid fire direction keeps you bouncing back and forth between laughter and shock with only minor stops for explanatory dialogue and his satirical sophistication never stoops to cheap parody.
A cinematic bad dream that generates recurring nightmares.
The Brood is an el sleazo exploitation film, camouflaged by the presence of several well-known stars but guaranteed to nauseate you all the same.
the horrors are simultaneously literal and allegorical, springing from a deep emotional well that transcends the bounds of conventional drama
As is often the case with Cronenberg, the intriguing subtext (here, the damage caused by divorce and the dubious benefits of psychology) is neutered by an amateurish and even risible storyline as well as inconsistent characters who make little sense.
Shedding the grindhouse skin of the early films for a cool-clinical sheen, Cronenberg exhumes the deformed feelings of relationships erected on circles of pain while locating a bruised new dignity in the characters caught in them
it's Cronenberg's Kramer Vs. Kramer - although Benton's film never featured dwarfish homicidal psychopaths amongst its methods for bridging irreconcilable differences.
Another terrifying gem from Cronenberg's early years
May be the most damning movie ever made about psychiatry.
One of the great filmmaker's best films, and a stylistic -- if not budgetary -- breakthrough.
A definitive metaphor for the coldness and cruelty of acrimonious divorce.
One of Cronenberg's most compelling and unsettling works.
From the master of body horror David Cronenberg comes this gruesome and thoroughly amusing film that is better to be seen without you knowing anything about (even if it isn't really surprising), and it has an unforgettable ending that could only become an instant classic.
This is one of the earliest horror films from mastermind David Cronenberg, and probably the most grounded of any of his films. Though it is still grotesque to watch, and definitely has the same ethereal wickedness of films such as "The Fly" and "Videodrome", this film at least tries to show reality in a much more conducive environment. The film follows the lives of separated parents, one of which is the father, Frank (Hindle), who is raising the couple's little girl (Hinds). The mother, Nola (Eggar), is much more interested in finding her center after living in a therapy center run by the somewhat devious Dr. Hal Raglan (Reed). Most of the film we watch her go into different trances and she finds herself crying like a strange child thanks to the beating and emotional abuse caused by her mother (Hogan). The psychological implications of the film rove right into horror as the people around Nola start to find themselves the subject of some strange physical wrath. What makes the film very eerie is completely reliant on the clinic where Nola is staying, which looks more like a darkened sauna. Oliver Reed gives a very genuine performance as the doctor who keeps Nola from the perils of the real world while also keeping her from really living her life to the fullest. He ultimately becomes a mere pawn in the strange supernatural game that Nola conducts. It really is a very warped film, in the sense that there doesn't seem to be a villain and Nola's psyche is obviously flawed, what with her acting like a delusional child. The entities that start mass murdering for her are very creepy, not just because of their deformed faces but because they look a bit like real children. Their origins and the true nature of their instability takes a while to get to, but that just gives more screen time to the killings, and when you have a film that is so weird and supernatural, that works to its advantage. This is definitely a Cronenberg film from start to finish, though some key aspects will surprise.
Formulaic and predictable.
significant similarities with zulawski's 'possession' of 2 years later, particularly the misogyny, even more pronounced here. seems both of these films were born of nasty divorce. ollie reed is always a treat, samantha eggar has an unexplained british accent, and the guy who plays her husband is at least inoffensive, more than i can say for sam neill in zulawski's film. i think i enjoyed this one more cuz the creepy kids were so much fun to watch. this was part of a wave of backlash against women's lib in horror films of the 70s-80s, that included 'alien' and 'rosemary's baby', but the tone here is very angry, with eggar's character having no redeeming qualities whatsoever, so just too much black/white. still one of cronenberg's best early works so worth checking out
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