Recensioni degli utenti

There aren't enough people doing this kind of stuff anymore, you know, the kind of movies David Cronenberg used to do, low budget but well crafted, high concept and not afraid to disturb, then lo and behold, looks like his son took the torch and I couldn't be happier. Possessor has some great performances and nice visual choices, the body horror bits do not disappoint as well and I thought the narrative was engaging from start to finish, found no issues with the pacing whatsoever.

We need more creative works like this on horror-fantasy.

Tasya Vos (Andrea Riseborough) is the Possessor. She's a corporate assassin who uses a brain implant to take over other people to do the killing. Her boss is Girder (Jennifer Jason Leigh). Her next take-over target is Colin Tate (Christopher Abbott) who is dating Ava Parse (Tuppence Middleton), the daughter of tech tycoon John Parse (Sean Bean).

This is a Brandon Cronenberg film. It has his father penchant for blood. It's a fine sci-fi flick with a dash of style. The filming does need something more. I can't quite put my finger on it. It has style but it needs more. It has moments of intensity but it needs more. It has ideas about control and self-identity. I'm not completely bought into the character Tasya. I don't know who she is and quite frankly, she may not know herself. That would have been an interesting idea if it's clearer about being murky. All in all, this is more interesting than not. There are enough in here worthy of the Cronenberg name.

In this film, set in the near future, brain implant technology allows one person to inhabit the mind, body, and spirit of another. A clandestine corporation uses this technology to assassinate wealthy and powerful people for profit. The film explores what happens when the host starts to fight to regain control from a guest who is not entirely mentally stable, to begin with.

Interesting enough premise. The film is set in a very bleak version of the future where cities appear to be sparsely populated (perhaps from some event that greatly reduced the population such as plague or war; a motif borrowed from Argento's Tenebre). The film relies heavily on psychotropic imagery, and this adds to the overall frightening and confusing atmosphere since most of this imagery is nightmarish (distorted faces reminiscent of David Cronenberg's The Brood, warped colors, bursts of sound and images, blurs, rapid-fire images and strobing flashes of light). The film further relies on ultra-violence as a motif that rivals even the Italian slasher films of the late 1970s and early 80s (such as Susperia, Tenembre, Opera, etc.). Possessor contains explicit sexual motifs including full male nudity and erect penises, which reminds me very much of Antichrist (2009) or The Man Who Fell to Earth (1976). These are juxtaposed with explicit imagery of knives penetrating flesh. All of this results in a nightmare landscape. The ending is purposely left confusing so that that the viewer can arrive at their own conclusions. For some viewers, this will be frustrating.

All of this wraps up into a very worthwhile enough film, but for viewers with a more sophisticated palate (if you are looking for a Blumhouse type film Possessor is not what you are looking for). It is disturbing to be sure. However, it is very well made and anchored by two very outstanding performances from Andrea Riseborough and Christopher Abbott. It also features Jennifer Jason Leigh and Sean Bean in very laudable supporting roles (whether or not Sean Bean dies I will not spoil). Possessor is a "Criterion Collection" caliber film that will give the viewer some satisfaction analyzing and will with you long after you see it.

I think this is one of those films you will love or hate.

It is quite slow moving and you do have to pay attention to get the most from it. Personally, I enjoyed it, and it makes a change from the usual sci-fi 'factory' movies churned out by Hollywood.

The acting, writing, and production are superb.

The son of David Cronenberg wants to to a movie like Existenz, but he ultimately fails to do so. The acting is good, but the plot is really drawn out and says almost nothing in the end. Also, as many others noted, there is some gratuitous gore and violence put in which doesn't really advance the story in any way, and that extends to some other things as well.

The entire thing revolves around people that "jockey" other people in order to do very mundane things like assassinations. The very idea is lacking imagination, considering that the premise of this film is killing people for other people that want their money and the very obvious alternative is to jockey the people directly and take their money. And then there is an entire exploration of what it means to inhabit other people's lives and minds, but it goes nowhere other than hallucinating some images.

At least the end was good because the jockey finally got back on track and remembered her work ethic! I am kidding. The end was bad.

Bottom line: an overly long film that shouts "Cronenberg!!!!" but needed very little of the signature characteristics of a Cronenberg movie to tell this story. I hope Brandon will find his own voice rather than bank on the same ideas his father explored. Or was it really Brandon? Maybe his father was jockeying him!

Some artful notions swirling around in this one, "Possessor," but not necessarily always amounting to much. A conclusion of a loss of empathy seems especially trite to me. There's so much more potential here than some character arch. More than the satire on the real world, too.

We've got mind-body duality of implanted techno body horror (from the son of the master of the subgenre) instead of dreamscape "Inception" (2010), but nonetheless for some generic corporatist plot. There's a bit of "The Puppet Masters" or "Invasion of the Body Snatchers" to the scenario, as well. An actress (Andrea Riseborough) playing a character that also is an actress--practicing her lines, fine-tuning facial expressions until literally embodying her character. It's even in her name, Tasya Vos, meaning "resurrection" and "fox," a symbolically trickster animal. A character who wears other people's faces like a mask and whose nightmare is that one of those people wears her face literally as a mask. Body and mental dysmorphia that becomes bizarre digitally dysmorphic cinematic imagery. Seeing artifacts that aren't there. An identity crisis fully emerging from wearing virtual-reality-like goggles to spy through customers' webcams through the eyes of the body that's consciousness has been hacked via Vos hooked up to another virtual-reality set. It's the sort of film-within-a-film that's within yet another film that really makes a character question their reality.

This is what got me wondering, then, about those objects Vos looks at in her debriefing meetings with Jennifer Jason Leigh's Girder (which may mean "satirist," by the way). Interesting how Leigh has been cast in so many such detached, clinician-type parts, at least of late: "Annihilation" (2018) and "Awake" (2021) being two of the latest movies I've seen with her, in addition to "The Woman in the Window" allusion to her part in "Single White Female" (1992). This is also the actress from "eXistenZ" (1999), "The Machinist" (2004) and "Synecdoche, New York" (2008). There probably aren't many actors out there more trained in the ways of reality-bending cinematic reflexivity. More interesting methinks than her ex-husband's use of meta-narratives as realistic movie therapy sessions.

Cronenberg to Cronenberg, but for the actors, Leigh's satirist grooms another actress as her successor. She monitors her character possessing via virtual-reality headwear, illustrates her slasher exploits with bloody big-screen images, and presents her objects from her past--nominally to distinguish her own identity and reality from those she possesses--but, Girder actually advises Vos to detach herself further, from the family connections that distract her from her work. Noah Baumbach should take note.

All of which makes me wonder about those objects, a pipe and a pinned butterfly. The latter seems to fit the transformation and resurrection themes well enough, but that pipe. And, boy, is there a lot of vaping in this one. A tobacco fix that isn't tobacco. A pipe that isn't actually a pipe. People possessed who aren't actually themselves. Consumers and voyeurs, not people. Pornography instead of sex. Dead images in lieu of reality. Ceci n'est pas une pipe à la René Magritte. This is The Treachery of Images. This isn't reality; it's a representation, surreal, virtual, a movie. "Pull me out."

With its good performances, excellent visual design, and all the blood and gore you could ask for, Brandon Cronenberg's 'Possessor' is a thrilling, engaging experience that succeeds in getting under your skin.

Ok, i don't usually write reviews here, although I am an avid movie fanatic.

To be frank i wasn't familiar with Brandon Cronenberg and his work up until now, and I must say this is a treat for the fans of his Dad's work.

The beginning is kind of meh I admit and nothing special but from the mid point towards the end it keeps getting better and better and the main thing is the beautiful atmosphere and cinematography and visuals and practical effects in the style of 80s masterpieces of his famous father.

This is by far the most interesting movie in this "subgenre" of horror in years and maybe even from the 80s/90s and since David shifted more towards the "mainstream" if that is something you can ever say about David Cronenberg.

Also the acting is great as is the casting. The colors and the mood of the film are really on point. Shot out to Director of photography.

To top it all of the "ending theme" or "possessor" as it is credited in the soundtrack by Jim Williams is nothing short of a masterpiece.

If you loved David Cronenberg's "Videodrome" or "The Scanners" or even "Dead Ringers" you will surely appreciate this one..

Do not be thrown away by the bad reviews and take a look for yourself!

Immensely disturbing, shocking and provocative; "Possessor" takes you on a wild ride while playing with your mind.

In this science-fiction horror film, an agent working for a secretive organization uses brain-implant technology to inhabit other people's bodies, driving them to commit assassinations for high-paying clients.

It goes without saying that Cronenberg is heavily influenced by the earlier films his father made but I also couldn't help but think of John Frankenheimer's "Seconds"while watching this. You can see where Cronenberg wants to play with sci-fi, horror and even reality. It's a daring vision and one you won't soon forget (if you have the stomach for it). Christopher Abbott is haunting in the lead role and Andrea Riseborough delivers a solidly chilling performance. It's a scary-ass film and I'm telling you there are visuals in "Possessor" that will haunt you for days, but I recommend you see it.

Follow @snobmedia for all reviews!

Opens really well and sets the scene well. Then rapidly descends into a poor gorefest that has no actual story. The performances are good but there is no empathy felt for the main character. Visually it's ok but nothing special. Too many buts for me. Meh

Didn't like this more than "Infinity Pool" but it's still a strong debut from Brandon Cronenberg. This movie is extremely violent and hypnotic in its representation of it. I haven't seen violence this stylized since Tarantino, and I have to say, I quite like it. Cronenberg is able to mix the styles of his father while creating something completely original with his use of synths and psychedelic colors.

The acting in this is phenomenal by everyone, and I think the credit has to be given to Cronenberg on how tight this script is. There isn't a single moment where a character blurts out their motivations and thoughts and I liked it more for it. Whoever edited this movie as well knew what they were doing. I guess the only reason it didn't reach the four star mark for me was the ending. It felt abrupt and I didn't like how the story wrapped up the more I thought about it. If you are into psychological messed up and violent movies, this will surely satisfy that craving.

"Possessor" is a film that immediately grabs your attention with its bold concept and striking visuals. Brandon Cronenberg brings a brutal, stylish vision to the screen, blending body horror, sci-fi, and psychological thriller in a way that feels refreshingly original. On paper, it sounds like a surefire hit - but in practice, the execution doesn't quite live up to the promise.

The biggest strength of "Possessor" lies in its atmosphere. The cinematography is often stunning, with vivid color palettes and disorienting camera work that matches the disintegrating mental state of its characters. The violence is unapologetically graphic, serving both as a narrative tool and a signature of Cronenberg's lineage. And the premise - about assassins hijacking other people's bodies to carry out hits - is fascinating.

However, the emotional core of the film feels strangely hollow. While Andrea Riseborough and Christopher Abbott give committed performances, the script never fully allows the viewer to connect with their characters. It's hard to care deeply about what's happening when everything feels intentionally distant and cold. The pacing is also uneven, with moments of intensity dragged down by sluggish stretches where not much happens at all.

"Possessor" is ambitious and certainly memorable, but it often feels like it's more interested in being clever than compelling. A movie that could have been great, but ends up being mostly style over substance.

It is weird, gory and yet very boring. I just don't understand what is going on.

Its assassins are plagued with mysterious yet boring ailments that keep the plot from developing meaningfully. In media res doesn't mean "put us to sleep."

It is almost as if, with the advent of streaming media, the critics are desperate for an actual feature to gush over. They picked the wrong movie. There are clever bits here and there, but the directors endless love affair with the tropes of low-budget film making, static scenes, dim lighting -- all these will ultimately disappoint. And the gushers would do well to remember that the director's father may have started with low-budget productions but eventually graduated to blockbusters like A HISTORY OF VIOLENCE. We can only hope. ((Designated "IMDb Top Reviewer." Please check out my list "167+ Nearly-Perfect Movies (with the occasional Anime or TV miniseries) you can/should see again and again (1932 to the present))

Cronenberg Jr. had the right idea, and his visuals were stunning - albeit the gore borderline overboard-cheesy, but his writing was riddled with plot and technical issues, and the ending was disappointing, forgettable and not worth the runtime's wait. There were also far too many convoluted scenes as well as many long, unnecessary and dragged out ones. The acting, cinematography and score were decent. The pacing was horribly slow, that the 103 min runtime felt like 3+ hours. This film needed faster pacing, and to be cut down to about 80 mins, with more clarity in the writing - especially the ending. Maybe dad should've given the screenplay a once-over to avoid such amateur errors. It's a generous 6/10 from me.

Similar in ways to existenz and videodrome themes. Really been missing David Cronenberg as he hasnt made many movies recently, so glad to see his sons taken over. His films are getting much better, this one being my favourite by miles so far. Excellent use of London set, nice camera work and its a real gorefest. It doesnt hold back in that respect, and some of the visual dream sequences were 1st class. Its not a perfect film by any means but has a number of strengths that horror film fans will appreciate.

The premise of POSSESSOR is pretty simple, and it's a pretty nice hook. It's about an assassin (Andrea Riseborough) who does her job by being implanted into the mind of someone else and essentially having that person commit the murder and then commit suicide. The assassin pops back out of the mind, and no one has any idea that what happened was even an assassination and not just a random murder carried out by someone who has simply snapped. The person possessed has their consciousness completely suppressed.

Pretty cool! But this process takes a toll on Riseborough, whose own psyche has sustained damage. Is it guilt? Is it numbness? Is it the process itself that takes a physical toll on her brain? Is she just a socio-path? When we see her spent time with her somewhat estranged family, nothing seems right or comfortable. Yet when she's doing her job, nothing seems right there either.

The assignment that takes over most of the movie is to inhabit a young man (Christopher Abbott), who is engaged to the daughter of a tech tycoon of some sort (Sean Bean). She is to use this man to kill the tycoon, the daughter and then himself.

The movie has "fun" with the notion of Risborough inhabiting a man, and also shows us the trickiness of trying to convincingly be a man she does not know and has very little information on. How will he fool the fiance? It's all very interesting, until things go off the rails. I have to hesitate to tell you more, because each viewer should find out for themselves what happens next, and then next and then next.

This is a violent film and the murders are fairly visceral, although taken out of context, they are much bloodier than what we might see on some television shows. It's all in the technique. Writer/director Brandon Cronenberg wants to make us really feel the force of these killings. If you have a surround sound system, get ready for your sub-woofer to do extra work conveying the deep notes of a fireplace poker smacking into a skull.

Riseborough and Abbott do a great job in this film. She's always interesting, and she is particularly so here. She can be a very glamorous actress, but in this film, she is almost aggressively NOT glamorous. No makeup (and her face is so pale!) and she's allowed to look almost completely haggard. Her huge eyes look terrifying and terrified both. But Abbott, whom I've never given much thought to, I admit, is equally good. Remember, it's HIM playing his character possessed by an assassin...not Riseborough. He does some very subtle work here.

The production design is solid. It betrays its low-budget roots, but never in a way that we think the movie was done on the cheap. Lighting and effects are all "practical" (no CGI, and little done in post-production). It all serves the overall atmosphere of moral decay.

There are some scenes that are set "in the mind" of the possessed. They're done very stylishly and with a lot of imagination. They also fail to be very effective. The conflicts playing out there are incoherent, and while I don't need to be spoonfed everything, these critical scenes needed to carry more impact. In the end, they are the least effective parts of the film, and that's a more than tiny flaw.

I also have to nitpick Sean Bean's performance. I think Cronenberg wrote a very cardboard villain, and Bean's performance does nothing to overcome that. He overacts mightily and brings no complexity to a film where all other major characters have some depth and layers.

I enjoyed the film nonetheless. It's not as creepy as some of its own advertising warns of, but it is a very interesting and well-crafted little film that is at least disquieting. And I never say this, but I really recommend the extra features on this blu ray. There are three brief making-of films here and all are well above average and actually really illuminate the film and point out things you might have missed.

Slow script, terrible sound, lazy acting and directing. This is how to screw up a movie concept 101.