Have you guys ever seen Croneberg's early film Crimes of the Future? It's definitely one of the weirdest films I've seen. It's rather hypnotic and surreal.
thief is a total fanboy movie..... such a boring below average movie...
and the video quality part of the review is overrated...
I'm no fanboy of the movie, but I completely disagree with this.
I discovered it through the Criterion BD, and though the movie is a bit overlong in some places, I found it to be quite entertaining, and I especially liked the actor's direction, especially the performance of James Caan.
As for the video quality, I won't talk about the color scheme because, again, I discovered the movie with the Criterion BD so I don't know if it's consistant or not, but the PQ is very high. Details is high, precision is high, contrast is spot on (minus the color scheme debate).
If there is one department that shouldn't be disappointing, it should be PQ.
Quote:
Originally Posted by KrugerIndustrial
Personally, I much more prefer Les petits mouchoirs.
Paul Haggis's Crash is one of my top five least-favorite movies of all time.
I've never seen the Cronenberg movie, though. It's one of those films that intrigues me, but it was always tough to find at video rentals, and I've never been intrigued enough to make a blind buy.
Cronenberg is hit-or-miss with me. The movies that quicken my pulse are usually Cronenberg's late 1970s/early 1980s films that deal with horror on a more visceral level. The character study/thriller movies from later in his career tend to fall flat with me. This is strange, because I usually feel the opposite way about most directors.
I think you'll like "Crash." There's something very OFF about it, and it is one of a kind.
I don't wish to own any of the Cronenberg films that I have seen, but I want to see more of his work. What do you all think should be the fifth Cronenberg film that I watch?
I have a soft spot for eXistenZ. But I also love Ballard.
had to leave last night before announcements were made. I tried The Umbrellas of Cherbourg once before in the past and I had heard that every line of the movie is sung. I watched maybe 10 minutes of it and said to myself, "what?!? every line of dialogue in this movie is sung!" point is.. I should have known better. I can barely stomach any musicals. maybe if I can get my hands on the blu-ray from the library I'll try again... maybe. probably not.
the Jeanne Moreau film, however, sounds interesting and I would definitely like to see it. for my cinematic dollar, she is the best actress (who is represented in at least a few films) in the Criterion Collection.
I'm in on Pickpocket. I loved A Man Escaped and will be looking to add both of them to my collection around the same time. I did see Pickpocket once before and did not really get it. It felt too minimalist for me. I remember reading analysis of the film afterwards and thinking, "wait, you saw all of that in this film?" anyhow, we mature and become more savvy film lovers over time and I feel safe pulling the trigger on this one.
I'd like to see the others some day, too, although they really don't sound like anything special.
Just finished watching Scanners. Well...that...was...interesting I think that it is the most straightforward and accessible of Cronenberg's films that I have seen. I have also seen The Fly, Videodrome, and Dead Ringers.
The actor who played Cameron Vale(Stephen Lack) was the worst actor in the film. It doesn't help that I thought Michael Ironside would have a bigger role, but I was stuck with Lack's blank expression and horrible line delivery.
I don't think Scanners has any replay value for me, but I appreciate Cronenberg's effort. All of his films are mind-bending and somewhat horrific experiences for me. Basically, the ending of all his films have left me temporarily traumatized.
I don't wish to own any of the Cronenberg films that I have seen, but I want to see more of his work. What do you all think should be the fifth Cronenberg film that I watch?
I would recommend taking a look at some of his more recent stuff. A History of Violence and Eastern Promises are both very strong. If you want to stay within his work as a sci fi/horror director, The Brood and eXistenz would be good next steps.
Cronenberg is hit-or-miss with me. The movies that quicken my pulse are usually Cronenberg's late 1970s/early 1980s films that deal with horror on a more visceral level. The character study/thriller movies from later in his career tend to fall flat with me. This is strange, because I usually feel the opposite way about most directors.
I feel the exact same way about Cronenberg's later output. EXISTENZ is his last good film in my opinion. I gave SPIDER the benefit of the doubt as he tried something a bit different, but it wasn't anything special. And then A HISTORY OF VIOLENCE was just hokey and insipid, with an annoying music score making it feel like a generic tv-movie. The premise was cool, the execution terrible. And then it just keeps sliding even more downhill with each consecutive piece of junk (EASTERN PROMISES, A DANGEROUS METHOD (ugh), COSMOPOLIS). All bland pieces of drivel. I'm not of the mind that he has to keep doing body-horror type films. I just don't think he has the chops to make good films in any other genre. And he's turning into a Scorsese-DiCrapio type of bond with Mortensen.
As far as SCANNERS goes and all the bad flack it's now getting, you kind of have to remember when it came out, it was at the crest of the horror makeup special-effects craze and mainstream audiences were literally shocked at the exploding head and impressed with the big showdown sequence at the end. Audiences were also a lot more patient with films back then and didn't need a big action sequence every 3 minutes, so yes the film drags nowadays, and the effects aren't all that surprising or very special anymore, and revival screenings at Alamo and elsewhere would most likely be full of hecklers and laughter as is so often the case at these cult film-buff screenings of older films. That said, in its time, SCANNERS was a pretty entertaining film overall. Never one of Cronenberg's best, but decent. Stephen Lack's performance is one of the worst you'll ever see; it's almost fascinating how terrible it is.
I'd recommend eXistenZ. It's not talked about nearly enough, and I think it's a pretty great concept for a movie.
The Dead Zone is my favorite David Croenenberg film. I liked The Fly, too. Most of his others are too gross or depressing for any replay value. I don't care to ever see these again: Dead Ringers, eXistenZ, Crash, Cosmopolis, Naked Lunch.
This sensual and striking chronicle of a disappearance and its aftermath put director Peter Weir (The Truman Show) on the map and helped usher in a new era of Australian cinema. Set at the turn of the twentieth century, Picnic at Hanging Rock concerns a small group of students from an all-female college and a chaperone, who vanish while on a St. Valentine’s Day outing. Less a mystery than a journey into the mystic, as well as an inquiry into issues of class and sexual repression in Australian society, Weir’s gorgeous, disquieting film is a work of poetic horror whose secrets haunt viewers to this day.
1975 • 107 minutes • Color • 5.1 surround • 1.78:1 aspect ratio
TWO-DVD SPECIAL EDITION FEATURES
• Remastered high-definition digital film transfer, supervised and approved by director Peter Weir
• Extended interview with Weir
• New piece on the making of the film, featuring interviews from 2003 with executive producer Patricia Lovell, producers Hal McElroy and Jim McElroy, and cast members
• New introduction by film scholar David Thomson, author of The New Biographical Dictionary of Film
• A Recollection . . . Hanging Rock 1900 (1975), an on-set documentary hosted by Lovell and featuring interviews with Weir, actor Rachel Roberts, and source novel author Joan Lindsay
• Homesdale (1971), an award-winning black comedy by Weir
• Trailer
• PLUS: An essay by author Megan Abbott
TITLE: PICNIC AT HANGING ROCK (2-DVD EDITION)
CAT. NO: CC2381DDVD
UPC: 7-15515-12031-9
ISBN: 978-1-60465-870-5
SRP: $29.95
STREET: 7/8/14
RED RIVER (2-DVD EDITION)
No matter what genre he worked in, Howard Hawks (His Girl Friday) played by his own rules, and never was this more evident than in his first western, the rowdy and whip-smart Red River. In it, John Wayne (Stagecoach) found one of his greatest roles, as an embittered, tyrannical Texas rancher whose tensions with his independent-minded adopted son—played by Montgomery Clift (From Here to Eternity), in a breakout performance—reach epic proportions during a cattle drive to Missouri. The film is based on a novel that dramatizes the real-life late nineteenth-century expeditions along the Chisholm Trail, but Hawks is less interested in historical accuracy than in tweaking the codes of masculinity that propel the myths of the American West. The unerringly macho Wayne and the neurotic, boyish Clift make for an improbably perfect pair, held aloft by a quick-witted, multilayered screenplay and Hawks’s formidable direction.
1948 • 127 minutes • Black & White • Monaural • 1.37:1 aspect ratio
TWO-DVD SPECIAL EDITION FEATURES
• New 2K digital restoration of the rarely presented original theatrical release version, the preferred cut of director Howard Hawks
• New 2K digital restoration of the longer, prerelease version of Red River
• New interview with filmmaker Peter Bogdanovich about Red River and the two versions
• New interview with critic Molly Haskell about Hawks and Red River
• New interview with film scholar Lee Clark Mitchell about the western genre
• Audio excerpts from a 1972 conversation between Hawks and Bogdanovich
• Audio excerpts from a 1970 interview with novelist and screenwriter Borden Chase
• Lux Radio Theatre adaptation of Red River from 1949, featuring John Wayne, Joanne Dru, and Walter Brennan
• Trailer
• PLUS: An essay by critic Geoffrey O’Brien
TITLE: RED RIVER (2-DVD EDITION)
CAT. NO: CC2377DDVD
UPC: 7-15515-11971-9
ISBN: 978-1-60465-866-8
SRP: $29.95
STREET: 7/8/14
PICKPOCKET (DUAL-FORMAT 1-BLU-RAY AND 1-DVD EDITION)
This incomparable story of crime and redemption from French master Robert Bresson (A Man Escaped) follows Michel, a young pickpocket who spends his days working the streets, subway cars, and train stations of Paris. As his compulsive pursuit of the thrill of stealing grows, however, so does his fear that his luck is about to run out. A cornerstone in the career of this most economical and profoundly spiritual of filmmakers, Pickpocket is an elegantly crafted, tautly choreographed study of humanity in all its mischief and grace, the work of a director at the height of his powers.
1959 • 75 minutes • Black & White • Monaural • In French with English subtitles • 1.33:1 aspect ratio
DUAL-FORMAT BLU-RAY AND DVD SPECIAL EDITION FEATURES
• New, 2K digital film restoration, with uncompressed monaural soundtrack on the Blu-ray
• Audio commentary by film scholar James Quandt
• Introduction by writer-director Paul Schrader
• The Models of “Pickpocket,” a 2003 documentary by Babette Mangolte that features actors from the film
• Interview from 1960 with director Robert Bresson, from the French television program Cinépanorama
• Q&A on Pickpocket from 2000 with actor Marika Green and filmmakers Paul Vecchiali and Jean-Pierre Améris
• Footage of the sleight-of-hand artist and Pickpocket consultant Kassagi from a 1962 episode of the French television show La piste aux étoiles
• Trailer
• One Blu-ray and one DVD, with all content available in both formats
• PLUS: A booklet featuring an essay by novelist and critic Gary Indiana
SCANNERS (DUAL-FORMAT 1-BLU-RAY AND 2-DVD EDITION)
With Scanners, David Cronenberg (Videodrome) plunges us into one of his most terrifying and thrilling sci-fi worlds. After a man with extraordinary—and frighteningly destructive—telepathic abilities is nabbed by agents from a mysterious rogue corporation, he discovers he is far from the only possessor of such strange powers, and that some of the other “scanners” have their minds set on world domination, while others are trying to stop them. A trademark Cronenberg combination of the visceral and the cerebral, this phenomenally gruesome and provocative film about the expanses and limits of the human brain was the Canadian director’s breakout hit in the United States.
1981 • 103 minutes • Color • Monaural • 1.78:1 aspect ratio
DIRECTOR-APPROVED DUAL-FORMAT BLU-RAY AND DVD SPECIAL EDITION FEATURES
• New, restored 2K digital film transfer, supervised by director David Cronenberg, with uncompressed monaural soundtrack on the Blu-ray
• The “Scanners” Way, a new documentary on the film’s special effects
• New interview with actor Michael Ironside
• The Ephemerol Diaries, a 2012 interview with actor and artist Stephen Lack
• Excerpt from a 1981 interview with Cronenberg on the CBC’s The Bob McLean Show
• Stereo (1969), Cronenberg’s first feature film
• Trailer
• One Blu-ray and two DVDs, with all content available in both formats
• PLUS: A booklet featuring an essay by critic Kim Newman
THE ESSENTIAL JACQUES DEMY (6-BLU-RAY/7-DVD DUAL-FORMAT EDITION)
French director Jacques Demy didn’t just make movies—he created an entire cinematic world. Demy launched his glorious feature filmmaking career in the sixties, a decade of astonishing invention in his national cinema. He stood out from the crowd of his fellow New Wavers, however, by filtering his self-conscious formalism through deeply emotional storytelling. Fate and coincidence, doomed love, and storybook romance surface throughout his films, many of which are further united by the intersecting lives of characters who either appear or are referenced across titles. Demy’s films—which range from musical to melodrama to fantasia—are triumphs of visual and sound design, camera work, and music, and they are galvanized by the great stars of French cinema at their centers, including Anouk Aimée, Catherine Deneuve, and Jeanne Moreau. The works collected here, made from the sixties to the eighties, touch the heart and mind in equal measure.
LOLA
Jacques Demy’s crystalline debut gave birth to the fictional universe in which so many of his characters would live, play, and love. It’s among his most profoundly felt films, a tale of crisscrossing lives in Nantes (Demy’s hometown) that floats on waves of longing and desire. Heading the film’s ensemble is the enchanting Anouk Aimeé (81Ž2) as the title character, a cabaret chanteuse; she’s awaiting the return of a long-lost lover and unwilling to entertain the adoration of another love-struck soul, the wanderer Roland (Le trou’s Marc Michel). Humane, wistful, and witty, Lola is a testament to the resilience of the heartbroken.
1961 • 88 minutes • Black & White • Monaural • In French with English subtitles • 2.35:1 aspect ratio
BAY OF ANGELS
This precisely wrought, emotionally penetrating romantic drama from Jacques Demy, set largely in the casinos of Nice, is a visually lovely but darkly pragmatic investigation into love and obsession. A bottle-blonde Jeanne Moreau (Jules and Jim) is at her blithe best as a gorgeous gambling addict, and Claude Mann (Army of Shadows) is the bank clerk drawn into her risky world. Featuring a glittering score by Michel Legrand, Bay of Angels is among Demy’s most somber works.
1963 • 84 minutes • Black & White • Monaural • In French with English subtitles • 1.66:1 aspect ratio
THE UMBRELLAS OF CHERBOURG
An angelically beautiful Catherine Deneuve (Belle de jour) was launched into stardom by this glorious musical heart tugger from Jacques Demy. She plays an umbrella-shop owner’s delicate daughter, glowing with first love for a handsome garage mechanic, played by Nino Castelnuovo (The English Patient). When the boy is shipped off to fight in Algeria, the two lovers must grow up quickly. Exquisitely designed in a kaleidoscope of colors, and told entirely through the lilting songs of the great composer Michel Legrand, The Umbrellas of Cherbourg is one of the most revered and unorthodox movie musicals of all time.
1964 • 92 minutes • Color • 5.1 surround • In French with English subtitles • 1.85:1 aspect ratio
THE YOUNG GIRLS OF ROCHEFORT
Jacques Demy followed up The Umbrellas of Cherbourg with another musical about missed connections and second chances, this one a more effervescent confection. Twins Delphine and Solange, a dance instructor and a music teacher (played by real-life sisters Catherine Deneuve and Françoise Dorléac), dream of big-city life; when a fair comes through their quiet port town, so does the possibility of escape. With its jazzy Michel Legrand score, pastel paradise of costumes, and divine supporting cast (George Chakiris, Grover Dale, Danielle Darrieux, Michel Piccoli, and Gene Kelly), The Young Girls of Rochefort is a tribute to Hollywood optimism from sixties French cinema’s preeminent dreamer.
1967 • 126 minutes • Color • 5.1 surround • In French with English subtitles • 2.35:1 aspect ratio
DONKEY SKIN
In this lovingly crafted, wildly quirky adaptation of a classic French fairy tale, Jacques Demy casts Catherine Deneuve as a princess who must go into hiding as a scullery maid in order to fend off an unwanted marriage proposal—from her own father, the king (Orpheus’s Jean Marais)! A topsy-turvy riches-to-rags fable featuring songs by Michel Legrand, Donkey Skin creates a tactile fantasy world that’s perched on the border between the earnest and the satiric, and features Delphine Seyrig (Last Year at Marienbad) in a delicious supporting role as a fashionable fairy godmother.
1970 • 90 minutes • Color • 5.1 surround • In French with English subtitles • 1.66:1 aspect ratio
UNE CHAMBRE EN VILLE
In this musical melodrama set against the backdrop of a workers’ strike in Nantes, Dominique Sanda (The Conformist) plays a young woman who wishes to leave her brutish fiancé (Contempt's Michel Piccoli) for an earthy steelworker (The Valet’s Richard Berry), though he is engaged to another. Unbeknownst to the girl, the object of her affection boards with her no-nonsense baroness mother (The Earrings of Madame de . . .’s Danielle Darrieux). A late-career triumph from Jacques Demy, Une chambre en ville received nine César Award nominations and features a rich, operatic score by Michel Colombier (Purple Rain).
1982 • 93 minutes • Color • 2.0 surround • In French with English subtitles • 1.66:1 aspect ratio
DUAL-FORMAT SPECIAL EDITION COLLECTOR’S SET FEATURES
• New 2K digital restorations of all six films, with uncompressed monaural soundtracks on the Blu-rays of Lola and Bay of Angels and DTS-HD Master Audio 5.1 and 2.0 surround soundtracks on the Blu-rays of The Umbrellas of Cherbourg, The Young Girls of Rochefort, Donkey Skin, and Une chambre en ville
• Two documentaries by filmmaker Agnès Varda: The World of Jacques Demy (1995) and The Young Girls Turn 25 (1993)
• Four short films by director Jacques Demy: Les horizons morts (1951), Le sabotier du Val de Loire (1956), Ars (1959), and La luxure (1962)
• Jacques Demy A to Z, a new visual essay by film critic James Quandt
• Two archival interviews from French television with Demy and composer Michel Legrand, one on The Umbrellas of Cherbourg and the other on The Young Girls of Rochefort
• French television interview from 1962 with actor Jeanne Moreau on the set of Bay of Angels
• Once Upon a Time . . . “The Umbrellas of Cherbourg,” a 2008 documentary
• French television program about the making of Donkey Skin
• “Donkey Skin” Illustrated, a video program on the many versions of Charles Perrault’s fairy tale
• “Donkey Skin” and the Thinkers, a video program on the themes of the film, featuring critic Camille Tabouley
• New video conversation with Demy biographer Jean-Pierre Berthomé and costume designer Jacqueline Moreau
• New interviews with author Marie Colmant and film scholar Rodney Hill
• Q&A with Demy from the 1987 Midnight Sun Film Festival, as well as an audio Q&A with him from the American Film Institute in 1971
• Archival audio recordings of interviews with Demy, Legrand, and actor Catherine Deneuve at the National Film Theatre in London
• Interview with actor Anouk Aimée conducted by Varda in 2012
• Interview from 2012 with Varda on the origin of Lola’s song
• Video programs on the restorations of Lola, Bay of Angels, The Umbrellas of Cherbourg, and Une chambre en ville
• Trailers
• New English subtitle translations
• Six Blu-rays and seven DVDs, with all content available in both formats
• PLUS: A booklet featuring essays by critics Ginette Vincendeau, Terrence Rafferty, Jim Ridley, Jonathan Rosenbaum, Anne Duggan, and Geoff Andrew, and a postscript by Berthomé
In this elegantly unsettling murder mystery, Stellan Skarsgård (Breaking the Waves) plays an engimatic Swedish detective with a checkered past who arrives in a small town in northern Norway to investigate the death of a teenage girl. As he digs deeper into the heinous killing, his own demons and the tyrannical midnight sun begin to take a toll. Erik Skjoldbjærg’s chilling procedural anticipated the international hunger for Scandinavian noirs and serial killer fictions, and features one of Skarsgård’s greatest performances.
1997 • 97 minutes • Color • 2.0 surround • In Norwegian and Swedish with English subtitles • 1.85:1 aspect ratio
DIRECTOR-APPROVED DUAL-FORMAT BLU-RAY AND DVD SPECIAL EDITION FEATURES
• New 4K digital restoration, with 2.0 surround DTS-HD Master Audio soundtrack on the Blu-ray
• New conversation between director Erik Skjoldbjærg and actor Stellan Skarsgård
• Trailer and TV spot
• One Blu-ray and one DVD, with all content available in both formats
• PLUS: A booklet featuring an essay by critic Jonathan Romney
TITLE: INSOMNIA (DUAL-FORMAT BLU-RAY AND DVD EDITION)
CAT. NO: CC2374BDDVD
UPC: 7-15515-11871-2
ISBN: 978-1-60465-856-9
SRP: $39.95
STREET: 7/22/14
THE BIG CHILL (DUAL-FORMAT 1-BLU-RAY AND 2-DVD EDITION)
After the shocking suicide of their friend, a group of thirtysomethings reunite for his funeral and end up spending a weekend together, reminiscing about their shared pasts as children of the sixties and confronting the uncertainty of their lives as adults of the eighties. Poignant and warmly humorous in equal measure, this 1983 baby boomer milestone made a star of writer-director Lawrence Kasdan (Body Heat) and is perhaps the decade’s defining ensemble film, featuring memorable performances by Tom Berenger (Platoon), Glenn Close (Fatal Attraction), Jeff Goldblum (The Fly), William Hurt (Broadcast News), Kevin Kline (The Ice Storm), Mary Kay Place (Being John Malkovich), Meg Tilly (Agnes of God), and JoBeth Williams (Poltergeist). And with its playlist of hit songs from the sixties, The Big Chill all but invented the consummately curated soundtrack.
1983 • 105 minutes • Color • Monaural • 1.85:1 aspect ratio
DIRECTOR-APPROVED DUAL-FORMAT BLU-RAY AND DVD SPECIAL EDITION FEATURES
• New, restored 4K digital film transfer, supervised by cinematographer John Bailey and approved by director Lawrence Kasdan, with uncompressed monaural soundtrack on the Blu-ray
• Alternate remastered 5.1 surround soundtrack, presented in DTS-HD Master Audio on the Blu-ray
• Reunion with cast and crew, including Kasdan, actors Tom Berenger, Glenn Close, Kevin Kline, Mary Kay Place, Meg Tilly, and JoBeth Williams, from the 2013 Toronto International Film Festival
• Documentary from 1998 on the making of the film
• Deleted scenes
• Trailer
• One Blu-ray and two DVDs, with all content available in both formats
• PLUS: A booklet featuring an essay by writer, director, and actor Lena Dunham
TITLE: THE BIG CHILL (DUAL-FORMAT 1-BLU-RAY AND 2-DVD EDITION)
CAT. NO. CC2375BDDVD
UPC 7-15515-11891-0
ISBN 978-1-60465-858-3
SRP $39.95
STREET 7/29/14
Attn Canada: PICNIC AT HANGING ROCK, THE ESSENTIAL JACQUES DEMY and INSOMNIA are available in English-speaking Canada only. SCANNERS is a U.S. Only release.
It seems like they're putting out more and more DVD only editions again. Makes me wonder if the Dual Format thing is hurting DVD sales enough for them to still cater to that demographic with standalone releases.
Since the advent of the Dual Format edition, here are the releases that have also received a separate DVD release:
Insomnia
Pickpocket
Scanners
Picnic at Hanging Rock
A Hard Day's Night
Red River
Judex
Like Someone In Love
Riot in Cell Block 11
Il Sorpasso
Master of the House
A Brief History of Time
The Great Beauty
There are possibly more, but you get the idea. It's quite a lot, especially in the last 2 or so months.
enough.. i own around 100 criterion blurays + various eclipse boxsets ( + alot of similar releases from MoC , BFI , AE ... )
only releases i disliked out of all these are breathless , un femme marie , les cousins , le beau serge
and thief isnt bad , but its nothing special as well. (maybe the soundtrack but thats it.)
michael mann fanboy ? ;D
not everyone has the same kind of taste in movies. and im not gonna "love" or at least "learn to like" a movie only because its a criterion release and the majority of members here likes one of these.
most of these "boring" movies are being defendet by comments like "back then it was something special".. well i dont care for that. there are way older movies that are still interessting.
but no offense here, if you love these movies thats fine for me.
Fair enough. I too don't like everything discussed here but everyone is entitled to have their own thoughts. If someone choses to be offended by my opinion then sorry, but it is mine to express the same as you.
It seems like they're putting out more and more DVD only editions again. Makes me wonder if the Dual Format thing is hurting DVD sales enough for them to still cater to that demographic with standalone releases.
I wonder if this "dual format" experiment Criterion is doing will even last? Did Criterion give a reasonable explanation why there are still separate DVD editions still being released on top of the Dual Format editions?
This brings up yet another debate on the BD vs. DVD vs. Dual Format releases.
Something tells me Criterion is going to make a price adjustment sometime in the near future so they can sell more releases.
It's hard to imagine Haggis is the same guy that wrote the Million Dollar Baby screenplay. Then again, FX Toole's original short story was a gift.
Haggis also co-wrote the screenplay of my favorite film of the 2000s, Casino Royale. The Bond franchise seems to bring out the best in people whose work normally underwhelms me, though. Sam Mendes is another such example.
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I think that it is the most straightforward and accessible of Cronenberg's films that I have seen. I have also seen The Fly, Videodrome, and Dead Ringers. 
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