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I first saw 'Videodrome' around '84 or '85 and it impressed the hell out of me. I thought then that it was ahead of its time, and after watching it again a few days ago (and there have been many, many viewings in between) I STILL think it is. In fact it gets more and more contemporary and relevant as each year goes by. Cronenberg went on to adapt difficult cult novels by William Burroughs and J.G. Ballard, which wouldn't have surprised any of his fans, as ideas from both writers, and the late Philip K. Dick have pervaded his work from 'Shivers' to 'eXistenZ'. (Probably even before that going by descriptions of early efforts like 'Crimes Of The Future' which I unfortunately haven't had the opportunity to see.) But Cronenberg, unlike say the Wachowski brothers, isn't just repackaging science fiction ideas for a new generation of movie goers, he is a genuine original.

'Videodrome' still knocks me out every time I watch it. This innovative mix of science fiction, sex, violence, surrealism and horror has lost none of its punch over the years. I have enjoyed most of Cronenberg's movies, and think he is one of the most underrated directors currently working, but 'Videodrome' still seems his purest and least compromised work, and the movie that most successfully and memorably represents his vision. Simply one of the greatest and most important movies ever made.

The president of the Civic TV - channel 83, Max Renn (James Wood), is always looking for new cheap and erotic movies for his cable television. When his employee Harlan (Peter Dvorsky) decodes a pirate video broadcast showing torture, murder and mutilation called Videodrome, Max becomes obsessed to get these movies for his channel. He contacts his supplier Masha (Lynne Gorman) and asks her to find the responsible for the transmission. A couple of days later, Masha tells that Videodrome is real, actually snuff movies. Max's sadomasochist girlfriend Nicki Brand (Deborah Harry) decides to travel to Pittsburgh to have an audition to the show. Max investigates further, and through a video of the expert Professor Brian O'Blivion (Jack Creley), he learns that that TV screen would be the retina of the mind's eye, being part of the brain, and Videodrome transmission creates a brain tumor in the viewer, changing the reality in video hallucination.

"Videodrome", in my point of view, is a prophetic movie of David Cronenberg. The first time I saw this movie was in 1985 or 1986, when video-clubs where novelty in Brazil, and the local price of a videocassette was more than US$ 650.00. In that occasion, I recall that I was visually impressed with this gore, weird and bizarre movie. Twenty-three years later, I have just seen it on DVD and I realize the vision of this great director. He was able to foresee the importance of television for mankind, influencing people with sublimated messages, manipulating audiences and becoming very powerful, and how violence on screen can generate violence. I particularly like the following quotes: "The television screen is the retina of the mind's eye" and "Television is reality, and reality is less than television." Last but not the least, Brazil is not located in Central America, but in South America. My vote is seven.

Title (Brazil): "Videodrome – A Síndrome do Vídeo" ("Videodrome – The Syndrome of the Video")

Max Renn runs a small cable station that specialises in providing what other, bigger stations don't – softcore pornography and hard violence. Tapping into illegal pirate broadcasts via satellite, Max sees a show that seems to be a hypnotic mix of S&M, torture, murder and other unsavoury acts that look very real. Intrigued and convinced he has seen the future for his network, Max tracks down the signal to be coming from Pittsburgh and does some digging to find out who is responsible for it. However as his fascination becomes an obsession his hallucinations start to get more real and more extreme.

Although it is pretty hard to get inside and to understand (much of it does not make a lot of sense), Videodrome is probably more relevant today than it was in the early eighties if only because the issue of the effects of sexual and/or violent "entertainment" continues to be debated and explored. This theme is explored with a certain amount of graphic disgust from Cronenberg as he takes Max, exposes him to graphic television violence and sees the affect it has on his mind and his body. As a commentary on the social impact of mass media it is hardly the clearest or most accessible of things but it is interesting and engaging nonetheless. As writer he could have made his message clearer and a lot less convoluted but I suppose he should be commended for delivering this in his own unique style but the downside is that the mass audience will feel excluded from the story.

As director though he makes it quite engrossing even if it isn't clear what the message is. The imaginative body horror stuff is very well done and the effects as impressive as the twisted creative forces behind it. The cast also buy into it well, even if the show does mainly belong to Woods. He is totally convincing which is a feat you need to believe is very hard to pull off in this sort of film! The rest of the cast are more in the world of the film (as opposed to drawn into it) and the result is that their performances tend to be more out and out weird – point in case Harry who is disturbingly vapid as the hollow S&M thrill seeker of the piece. Likewise Smits, Carlson, Creley and others are more about the world than giving performances so-called.

Overall though, this is an interesting and imaginative film. It doesn't make a lot of sense but it is enjoyable to try and apply what is happening to work out a meaning within it while watching it. The effects are good, although the horror might have meant more to me if I understand all of it better but regardless it is certainly an experience that is worth having at some point.

This movie was a TRIP. Really had no idea what to expect when I popped it on until I saw that it was a Conenberg film. Of course, by then I knew I'd be in for something strange but I still wasn't prepared for this interesting and disturbingly still relevant tale of how the media we consume effects us as people. How we become exposed to something, an idea, a frequency of thought, a movement and it can grow in us like a cancer until nothing makes sense anymore. In a post-2020 world I think that's more relevant than ever, this notion that what we see can change us and our perceptions. Cronenberg was doing this in '83 though.

Really, only downside is that it does feel pretty sloppy at times. The body horror is sometimes a useful tool and at others feels very unnecessary. It's rough around the edges and while I enjoy the central concept and idea of the film, it could have definitely done with a little more polish.

Would oddly love to see this one revisited and modernized a touch.

Videodrome is truly a surreal experience. I do not want to include too much information as that would spoil the film for "virgin" viewers. If you are familiar with Cronenberg's work, you may have an inkling of what you're in for. Videodrome can drive one to the brink of madness, and then tell you you've been there for an hour and a half. From scene to scene you can't tell what's real and what is in James Wood's imagination. It's utter insanity, but it's great at the same time. This film is a good companion piece with Cronenberg's Existenze. When you can wrap the audience up in your movie, you have accomplished something few have. And David Cronenberg seems to do that time and again. Cronenberg is not for the faint of heart, definitely.