Antiviral

Is Cronenberg finally back to the body-horror genre? Yep, in a re-birth through his son, Brandon. What David hasn't done in the last 10 years is done here by Brandon. Dad's influence is obvious from the very first shot up to the last shot of the film. I found connections, clues, winks and homages to David's old films throughout the entire movie - I'm not sure whether they were intentional or just my intuition, but I recalled Videodrome, Shivers, The Fly, eXistenZ, Naked Lunch and Crash. If you were missing the old Cronenberg style, you're gonna love this movie.

The script is very original and contains some interesting ideas. The lead actor does a pretty decent job in his role; I wouldn't go as far as saying it's Oscar material, but it's good enough for this part. The production design is pretty good and interesting, although minimalist. So is the cinematography, which is "minimalist" in the sense of being static (or close to that) almost the entire film, with very few exceptions here and there; I guess it worked okay for the film, yet it was enough for me to be distracted by it more than once - I myself would have preferred to see a more dynamic camera-work.

The movie is not perfect. It gave me the feeling of "something is missing here" at times - including in its ending - but all in all it was pretty impressive as a first feature-film for Brandon, both as a writer and a director (although if I compare it to Duncan Jones' Moon, the latter wins big time). I'll definitely look forward to his next film - much more than to David's next film, sadly.

Brandon Cronenberg's auspicious debut feature is a visually stunning, compelling science fiction story that asks the question, "How far would you go to own a piece of your celebrity crush?" Directing from his own script, the young Canadian takes a decidedly cynical view of the cult of personality in this sci-fi paradigm shift -- "Antiviral" isn't necessarily showing us what will be in the future but what could be now as it appears to be set more in the present day.

The film opens in a pristine medical facility where a desperate young man, Edward Porris (Douglas Smith in a too-brief but important establishing role), is about to be injected with a live virus taken from his favorite superstar. Being bedridden with the same illness infecting the woman of his desire is the ultimate autograph. The shot is administered by Syd March (Caleb Landry Jones), a strictly professional, unemotional clinician who knows not to take his job home with him. Of course, everything is not as it seems and March becomes embroiled in a mystery that pulls in the viewer like a syringe drawing blood.

The cast is focused on a small handful of characters. 22-year-old Caleb Landry Jones (Sean Cassidy/Banshee of "X-Men: First Class") is in virtually every shot, undergoing a total physical and emotional transformation that's almost painful to watch, reminiscent of the award-winning performance turned in by Tom Hanks in "Philadelphia." His masterful characterization of Syd's downward spiral is breathtaking and central to the picture's potency. The iconic Malcolm McDowell is satisfyingly engaging as Dr. Abendroth, in a role that stands proudly with anything he's done. As Hannah Geist, the gorgeous object of men's desires, Sarah Gadon is a heartbreaker. Naive diva one minute, vulnerable victim the next, Gadon provides much of the heart and soul of "Antiviral" in a film otherwise devoid of color, literally. Joe Pingue and Nicholas Campbell are notable in support.

"Antiviral's" narrative is curiously fascinating, to be sure, but this is a film to examine more on the surface the way an old-fashioned family doctor can tell what ails you by looking at your skin. The highly stylized production is best appreciated by those enriched by a leisurely walk through an art museum. Every frame is like a painting, with lush cinematography and score that can only be effective when director, DP, composer, editor, and the entire visual team work in lockstep, resulting in a brilliant vision executed with highly disciplined precision.

Much of March's day is set in the clinic and his home, which mirrors his workplace in its cold sterility. The color palette is nothing but black and white. Lighting is oversaturated with characters bathed in bright white, giving the outward appearance of good health that belies the reality of what literally lurks beneath the skin. The outside world is like a parallel universe, where dirt and grime cover a worn out, used landscape as if diseased itself.

Cinematographer Karim Hussain ("Hobo with a Shotgun," one of my 2011 Sundance Film Festival Top 4) goes against the hand-held trend with stationary camera throughout much of the movie. These tripod shots often feature perfectly centered props and sets following the rule of 3s -- left, center, and right objects perfectly balanced with the action in the middle of the field of view. Many frame-within-a-frame shots continue this classic visual style as the viewer peers through doors and windows, with straight lines and rectangular shapes filling the screen. It's a refreshing break with tradition although, ironically, it's a look established long ago in sci-fi classics like Fritz Lang's "Metropolis." Much is owed to editor Matthew Hannam for the patient pace of the picture. E.C. Woodley's haunting electronica score is filled with biologically-inspired rhythms that reflect the throbbing hearts and mechanical drone of a scientific setting.

Viewers are cautioned not to underestimate the profound importance of the camera-work and visual effects. The look of "Antiviral" is as much, or more, responsible for the film's impact than the script, a notion which may be lost on those simply trying to figure out the plot and following the dialogue. This is a feast for the eyes and ears, not just the mind.

Brandon Cronenberg proves himself a welcome and worthy addition to the cinematic stage with "Antiviral," a delicious visual showcase and emotionally satisfying, albeit scathing look at one of the perils of modern society.

Corporate salesman makes himself sick with the product he's selling, and tries to take control.

Cronenberg. Lynch. Gilliam. They're all in there, but it's treacle slow and I didn't get a note of humour. The lead actor is frustratingly dull, and should be discouraged from these roles in future - he's obviously talented and could be much more interesting.

The pace is poor, I kept looking at the time. Music didn't bring me in. Editing good, but too many longeurs. Damn you, Quebec.

I'm on board with the satire, but it did not give me a warm feeling. Sadly, the pessimism is probably spot on. The final note was restrained Cronenberg.

Overall, interesting but dull-making.

For those who fret that Canadian filmmaking legend David Cronenberg left his "body horror" phase behind long ago, rest assured that Davids' son Brandon keeps that tradition alive here. Caleb Landry Jones stars in this slightly futuristic tale (written by Brandon as well) as Syd March, an employee for the Lucas company. Lucas has built a thriving business selling viruses to devoted fans eager to experience the same things as their idols. Pretty "sick", huh? Syd also smuggles the viruses out of the lab, using his own body, to later sell them to pirates. His trouble arises when he carries the disease recently acquired by starlet Hannah Geist (Sarah Gadon); it ends up killing her, and he must find out how to avoid the same fate, while becoming a hot commodity in his hideous line of work.

Some horror fans are sure to get a kick out of this. Although it's too quiet and too slowly paced for some tastes, anybody who's ever complained that a film wasn't gory enough won't be quick to gripe watching this one. Brandon does stay true to his dark and nasty mandate, delivering an ultra-creepy tale that really gets under the skin. (Most of the shots of needles penetrating skin are for real, so maybe avoid this one if you can't stand stuff like that.) The premise is preposterous enough to make for a good satire about the nature of celebrity worship. There's even a subplot about butchers making cuts of meat taken from the cells of celebrities. If nothing else, Brandon is always good at going for the gross-out.

He employs a striking visual aesthetic, as there are lots of stark white backgrounds, and not much variety in terms of colours - excepting, of course, usage of the red stuff.

Jones is an intense actor with a bright future; he definitely reminds this viewer of a young Brad Dourif. The supporting cast includes a number of familiar Canadian faces. Among them is Nicholas Campbell, who'd actually worked with Brandon's dad a few times, as Syds' boss. Malcolm McDowell does "special guest star" / "token name actor" duty, and does a typically solid job.

Brandon hasn't done another feature-length movie for a while now, but perhaps he has been waiting for inspiration to strike. If his next film is anything like this one, it will also be something to remember.

Seven out of 10.

Antiviral is a sci-fi/horror film from the mind of Brandon Cronenberg, David Cronenberg's son. This is a beautifully shot film, with a great premise but it just didn't click with me totally. The film follows Syd March, a man who works for a company that harvests diseases from celebrities and then injects them into paying clients. Sounds pretty messed up right? To put it in real world context, you'd go to this company and willfully get injected with Britney Spears cold sore. It gets even weirder when they get into celebrity cell regeneration that is made into steaks. Yeah, you read that right. There's a "butcher shop" that specializes in growing celebrities cells and selling them to you so you can eat them. This is an incredibly original story that plays on societies star obsessed culture and turns it on its ear. I love the idea of this movie but it moves at too slow of a pace. There's a few minor twists and basically no action, which makes a slow film feel even slower. Antiviral is not a fun film (no humor,no action, no scares) and is definitely not for everyone. It is a beautifully shot film, even though it is meandering, it is always great to look at. Every shot is framed well and done with purpose. The use of white gives it a very clean and sanitary look that is extremely effective. Cronenberg gets an A+ for the look of this film, it really is that nice to look at. The limited amount of gore is also expertly done, I just wish there had been more of it.

Caleb Landry Jones (Banshee in X-Men First Class) is the star, this is basically a restrictive narrative, and he is in pretty much every scene. He does a good job and has a bright future. Malcolm McDowell also has an extended cameo and he's as good as always. He seems to have settled into this role as a name actor, lending that name to help a small picture.

Antiviral is an incredibly original story, and beautiful to watch but it is just a tad dull. Instead of an A its a solid B, just because of the story and visuals. I repeat it is not for everyone, it reminds of Excision a bit (just without the snappy humor), so if you liked that movie then check out Antiviral. Brandon Cronenberg is the future of horror, and as a horror fan, I couldn't be happier.