Hooptober Neun (2022) - Film #24
6 countries (Canada); 5 Films from David Cronenberg, Ti West, Bill Rebane, Charles B. Pierce, William Grefe and/or Joy N. Houck Jr. (David Cronenberg)

The Brood is based upon a very interesting concept - the physical manifestation of anger based on subconscious telekinesis. Cronenberg, as he often does, manages to strike a balance between his more elevated artistic tendencies and sensationalist pulpy elements.

The film deals with some delicate subject matter; childhood abuse and trauma are central to the plot and I think it’s worth being aware of this going in. As sensationalist and shocking as Cronenberg can be, these themes are not played cheaply here, and that is a relief. The portrayal of the disintegration of a marital relationship is also central here, and it is my understanding that this was inspired by events in Cronenberg’s own life, which lends the film a very personal feel.

Despite being very aware of Oliver Reed’s reputation, and having seen clips of his being interviewed, I don’t think I’ve ever seen him act. If his performance here is anything to go by, consider me a fan. Other performances are of a mixed quality, although there’s nothing too dreadful.

Howard Shore’s score is generally very good, which is not surprising considering his track record, although I did feel it was slightly overblown at points. Visually, the film works well - as an aside, I loved the design and architecture of Dr. Raglan’s office. The effects are good, although the garish red of the blood slightly lessened the impact of the happenings on screen.

Similarly to Dead Ringers, this film can be a little ponderous in terms of its pacing. This isn’t a a disaster, and the film is not overly long, but there were times at which it dragged. Part of this is that the some of the film feels like it is simply setting up for the ending, rather than being compelling in its own right. The ending however, is very engaging, and this is where the most memorable effect work is done and the section where the film really stands out as Cronenbergian.

Overall, a very good Cronenberg film, with a standout performance from Reed, some of Cronenberg’s signature body horror elements and a surprisingly deft handling of difficult issues.