Headspace (2005) - Rotten Tomatoes

Headspace (2005)




Critic Consensus: No consensus yet.

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Movie Info

A twenty-five year old man whose chance encounter with a mysterious stranger has found his intellect rapidly expanding finds himself at the center of a gruesome murder case in an award-winning horror thriller starring Olivia Hussey, Sean Young, Dee Wallace Stone, and Udo Kier. Alex Borden is rapidly becoming a genius, but as the power of his mind grows so does the mystery of a brutal series of murders. Now, as the killer seems to set his sights on Alex, the frightened genius must use his newfound brain power to put an end to the mayhem once and for all.
R (for strong horror violence/gore, sexuality and language)
Documentary , Horror , Musical & Performing Arts
Directed By:
Written By:
In Theaters:

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Olivia Hussey
as Dr. Karen Murphy
William Atherton
as Dr. Ira Gold
Sean Young
as Mother
Mark Margolis
as Boris Pavlovsky
Udo Kier
as Rev. Hartman
Dee Wallace
as Dr. Bell
Erick Kastel
as Harry Jellenik
Christopher Denham
as Alex Borden
Karen Anderson
as Desk Nurse
Jeanette Arnone
as Mother (KGB Lab)
David Austin
as Female Creature
Teodorina Bello
as Hospital Cleaning Lady
Stephen Benson
as Social Worker
India Eisley
as Martha
Raymond Gutierrez
as Boat Basin Witness
Morris Katz
as Street Artist
Paula Kelly
as Alice
Quinn Lujan
as Young Alex
Daniel Manche
as Young Harry
Mercedes Renard
as Connie Sanchez
Paul Sparks
as Jason
Michael Locascio
as Jason's Father
James Spruill
as Lloyd Carter
Todd Walker
as Sean John
Patrick Wang
as Sammy Chung
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Critic Reviews for Headspace

All Critics (8) | Top Critics (3)

Ultimately fairly routine material, but it's hard to knock a film that includes among its cast such familiar faces as Olivia Hussey, Sean Young, William Atherton, Dee Wallace Stone and (the apparently obligatory for the genre) Udo Kier.

March 17, 2006
Hollywood Reporter
Top Critic

There are good ideas pulsing through Andrew van den Houten's horror flick, but once the script turns nasty, things fall apart -- and not just literally.

Full Review… | February 17, 2006
New York Daily News
Top Critic

A small horror film with all the necessary gore and beasties and gratuitous nudity that this not-very-demanding genre demands.

February 15, 2006
New York Times
Top Critic

Impossível compreender como tantos atores veteranos puderam aceitar participar de um projeto sem potencial dirigido por um estreante sem talento.

November 18, 2006
Cinema em Cena

There is such a level of pretension throughout the movie that it was hard to watch without rolling your eyes at every other scene.

Full Review… | October 1, 2006
7M Pictures

A fairly intelligent, creepy, and well-crafted piece of indie moviemaking.

Full Review… | August 28, 2006

Audience Reviews for Headspace


Mundane, occasionally amusing horror flick that never quite gets its act together.. The premise is familiar territory; some people are possessed by demons, but not everyone can see them. A young man can, though, after a head injury and reunion with his long-lost brother (who can also see them). Nobody believes either of them, of course. Th same head trauma that has given the main character this ability has also turned him into a phenomenal super-genius who can predict people's thoughts and read books by flipping the pages. But the demons, who maintain tastefully-decorated apartments when they're not mutilating people in public restrooms, want him gone. The demons are so obviously actors in poorly-fitted plastic suits that they're more humorous than frightening and Christopher Denham's mopey, woe-is-me character gets old fast. There are some good ideas at work in Headspace but the execution fails when it comes to direction and dialogue. Udo Kier is underutilized, though he does die the film's most memorable death, and the overall gore content is one of the film's saving graces. Remember, kids, wear that bike helmet lest you end up a haunted genius pursued by rubber demons!

Brian Seitzman
Brian Seitzman

HeadSpace There is always a certain urge, controllable, yet always persistent in everyday thoughts that deviates from the norm, sets itself at a distance and realizes the ridiculousness of common event. The urge, it takes it's shape as a distortion, an unrealistic fascination that changes our perception of a constant moment. This quandary of the human mind is a focus of the horror genre. It takes a lot of guts, so to say, to step into the horror genre, but not a lot of wit. Anyone is capable of tricking someone else, easy to pop out behind a closed door, simple even to cue the wolf's howl on a dark moonlit night. The movies, then, that truly stand out in horror, are those that not only stay on a well-founded formula, but continue the internal analytic deviation in the voyeur's eyes by stretching the limits of what is believable. Then, there are the movies, such as Houten's HeadSpace, starring Christopher Denham, that go and above and beyond the dilemma of how to make a monster unbelievably horrific, but to make the story real, to take back that previously forsaken realm of storytelling. Without abandoning the human emotions of empathy, sympathy, and character attachment, HeadSpace delivers a full force horror entourage. The most actually interesting thing about the story, aside from the numerous sub-plots, is that the story on paper, might even sound believable for a moment. The only thing bringing us away from the dangerous precipice of the "normal" belief suspension commonly used in film, is that it is indeed, only a movie. The story follows Alex, a mid-20's inner city male. The striking yet correlated traits of confused innocence, uncouth arrogance, selfless helplessness, stand out amongst the youthful characters he surrounds himself with. He is a homesitter, and artist, who collects unemployment, and drinks himself silly some nights, while still maintaining certain hidden truths about his life and future. The trouble begins one day while playing chess in the park, but by the time the story ends, we're taken into a world where we are all just pawns to a game of life and death played in realms we do not belong. My advice for approaching this film, is to pay attention to nuance. The dialogue is phenomenal for character development, the most crucial part of a horror/slasher film, and the plot that intertwines religion with metaphysics and science, is genius, but don't forget to watch everything else. The score is great, although not the best, and the cinematography is simple and effective. "Checkmate." 10/10

Willard Moulton III
Willard Moulton III

Great development, poor pay-off. It had me until the end which falls into that oh-so-typical "surprise" ending.

A.D. Villarreal
A.D. Villarreal

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