Spider

We watch Spider (Ralph Fiennes) at the present time, trying to live at a boarding house which takes pity on people who should legally be in mental institutions, and, in parallel action, watch him reliving his childhood, doomed to stand watching those events play out again and again, an observer as impotent as he felt when they originally happened.

This film is a mystery into the character and history of Ralph Fiennes' character. Its a little film, dealing with the mind of one troubled little man, and a patient film. Its also a very mature film from Cronenberg, where he has done away with the shock tactics of the past, and the results are delightful. But if you don't like patient films (and you might see it as a slow film - don't expect big action, expect to watch a fascinating character - and maybe discover why he's so troubled), watch any of Cronenberg's previous efforts instead.

Its not a very big or important film - not one of the most essential films of 2002, but if you've seen those more important choices, and are looking for something different, Spider may just be an interesting, atmospheric experience for you.

8/10. Maybe I was just in the perfect mood for it, but i loved Spider. I thought it was a beautiful and atmospheric character study. Spider is a real unique character, brought to life vividly by Ralph Fiennes.

This film is one of the most under-rated, I have to say. I know it takes awhile to get into and you have to use your mind while you watch it but it's not THAT complicated, is it? Especially if you watch this film more than once you really become to understand what it is it with Spider. I don't want to give away the plot, because you really have to see it for yourself. It's surprising and pleasantly different.

I have to highlight the acting in the film, it's that superb. All the actors are just simply amazing, taking the acting to a completely new level. So, if you want to try something that's not so mainstream film-making, watch Spider. I dare you.

There are always films that people will either see what the director was going for, or simply won't connect with the film. David Cronenberg's Spider is one of those films.

Many comparisons can be made between this film and the Ron Howard film A Beautiful Mind in that they both examine the complexities of mental illness. Whereas Howard took the glamorous Hollywood style approach -- complete with government agents and associated adventures -- Cronenberg continues to prove that less is more when it comes to film. Spider is significantly more effective in that it does not candy coat its subject, rather approaching the scenario with brute realism.

Cronenberg is certainly one of the most under-appreciated and misunderstood directors of our age in terms of popular appeal. His films are not for mass marketing and popcorn sales, but rather are psychologically and sociologically challenging to the viewer. Cronenberg films generally demand a surrender from the audience to an unsettling reality, and Spider is no different. The fractured perception offered by the protagonist as displayed through Cronenberg's eye is truly unique and refreshing.

If you are the type of person who is up for quick, easy entertainment, Spider is not your film. But, if you want to explore a brilliantly crafted submergence into the strange reality of a mentally ill person, Spider will leave you wanting more. Cronenberg has once again proved that there are few directors of his talent and skill. His ability to create a wholly original feel in film incomparable to any of his contemporaries is always welcomed by this viewer.

This film kept me totally engaged during every single second. The acting was no less than you would expect from such a talented cast - brilliant performances from all. Ralph Fiennes is just superb. Gabriel Byrne in probably the most difficult role of his career to date keeps the `secret' to the end. John Neville and Lynn Redgrave, provide the supporting roles with a flare that never upstages the lead actors. Bradley Hall as the Boy Spider gave a fine performance as only child actors can. But it was the Chalk and Cheese characters play by Miranda Richardson that for me stole the show and clearly shows how deep her talents run.

The script, adapted by the author of the book, was powerful without going over the top and was very authentic. Even throwaway lines by supporting actors had meaning and helped convey the power and momentum of this masterpiece `.. seven packets of Crisps and a packet of Embassy.' Many times have I uttered similar words in a London Pub.

The locations were so real, you could smell and tasted them - I grew up in such a places and in the same period as the Boy Spider - every single and highly accurate detail brought my childhood memories rushing back.

The story is real - events like the critical event in this film really did happen and still do.

For international readers, England from the late 70's onwards adopted a 'Care in the Community' programme and every city and major town has halfway houses, like the one portrayed in this film, where newly released inmates of mental institutions are ordinarily just dumped to fend for themselves.

This film is nothing short of a Masterpiece - the real pity is that it won't appeal to a wider international audience.

SPIDER (2003) *** Ralph Fiennes, Miranda Richardson, Gabriel Byrne, Bradley Hall, Lynn Redgrave, John Neville. Filmmaker David Cronenberg does it again : mixing psychological drama with Gothic mystery with the cloak of violence in the air with Fiennes (in a brilliantly mannered near mute turn) as the titular character, a schizophrenic recently released to a halfway house, nicknamed in his youth by his mother (Richardson who gives an excellent turn to the third power; she inhibits three interlaced roles that act as the story's linchpin) for his cat's cradle yarn confections which sends his scattershot memories into overdrive as he attempts to connect the missing pieces of his life. Told in intersperses of flashback Cronenberg expertly uses his persuasive powers of dread eke out the thin plottings of Patrick McGrath's novel – who adapted the screenplay too – that can tax on the nerves in long, baroque stretches of near silence. Dank, rotting production design by Andrew Sanders, excellently lensed by Peter Suschitzky and the chamber music-like score by Howard Shore makes the most of its broken-minded protagonist's living nightmare.