Videodrome 1983 123movies

Watch: Videodrome 1983 123movies, Full Movie Online – Max Renn is the President of Channel 83 Civic-TV, a small television station on the UHF dial. He defends his programming of largely X-rated shows – which depict graphic sex and extreme violence – as a pure matter of economic survival as a small station. Behind closed doors in specific company, he would admit that he enjoys such programming, but as President will stay away from associated activities that may be dangerous for him in its purchase. His current girlfriend, radio personality Nicki Brand, who he met on a television talk show, is sexually aroused by light mutilation on her person, that despite or because her radio show is like an open air crisis hotline. On that same talk show, the other guest via video feed was Professor Brian O’Blivion – solely his stage name – who believes that television and video broadcasts will one day overtake the world as reality, which may make Max’s programming in combination more dangerous. In Max’s search for the next big thing in like programming already on Channel 83, Harlan, his pirater who scans satellite signals, illegally obtains a satellite feed of something called Videodrome, which depicts continual sexualized torture and murder with no storyline of which to speak. The background behind Videodrome is unknown, but believing it is that big thing for which he is looking, Max is determined to find the producers so that he can purchase it for his station. He is concerned for Nicki if she goes ahead against his warnings in wanting to appear on Videodrome, however it does not lessen his desire to purchase it. If Max in turn does not heed the warning of Masha, one of his long time show suppliers, based on what little she discovers about it, Max may discover that Videodrome is just the next but destructive step in O’Blivion’s prognostication..
Plot: As the president of a trashy TV channel, Max Renn is desperate for new programming to attract viewers. When he happens upon “Videodrome,” a TV show dedicated to gratuitous torture and punishment, Max sees a potential hit and broadcasts the show on his channel. However, after his girlfriend auditions for the show and never returns, Max investigates the truth behind Videodrome and discovers that the graphic violence may not be as fake as he thought.
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Ratings:

	7.2/10 Votes: 94,677
	79% | RottenTomatoes
	60/100 | MetaCritic
	N/A Votes: 1768 Popularity: 22.691 | TMDB

Reviews:

Flesh long unsettlement
David Cronenberg’s films are technically very well made and while his films are very disturbing a good deal of his films also have either a dark or subtle wit, poignant emotion or even both. He is for me one of the most interesting and unlike any other out there directors, despite being known for body horror and originating it his films are much more than that. All these are the reasons for my admiration and appreciation for him.

Will be honest in saying that ‘Videodrome’ is not quite one of my favourites of his, do much prefer the likes of ‘Dead Ringers’ and ‘The Fly’ and find that they are more accessible as films. It is still a very intriguing film that hits hard on the disturbance factor. Something of a transition film, with all the distinctive Cronenberg touches and themes but now exploring more ambitious concepts, on top of being one of his most disturbing ‘Videodrome’ is also one of his most personal and most complex.

‘Videodrome’s’ weak links really are the story and pace in the latter stages. The story starts off very interesting and much of the film is unsettling in atmosphere, but in the latter stages it does start to unravel and the more it does the less sense it makes and more muddled it gets until the viewer is completely lost.

As the story unravels, the pace does too, meandering until it becomes exhausting when things get on the over-the-top side.

However, as always with Cronenberg, ‘Videodrome’ is a very accomplished looking film. It boasts some of the most startling imagery of any Cronenberg film (in a way that is both disturbing and also oddly beautiful), Cronenberg again showing his visual mastery even if the techniques became even more refined in his later work, as can be seen with ‘The Fly’ and ‘Dead Ringers’. Howard Shore’s, a Cronenberg regular, score is deeply haunting while also with a degree of emotion, not just going for full on horror but also the emotional core.

Script may not have as much dark wit or poignancy as other Cronenberg films, but it probes the mind at least and flows well. Much of the film is truly unnerving and makes one think twice about the future of media, the tension there frequently. Cronenberg directs with a typically adept touch. The characters carry ‘Videodrome’, Max is a sleazeball and is a meaty one at that. The acting is very good, with the driving force being James Woods giving a lead performance of true ferocity.

Overall, good if not one of my favourites of Cronenberg. 7/10

Long Live the Videoflesh!
Meritricious trash. It seems to have been made with the sole purpose in mind of making the viewer’s skin crawl. There is some nebulous idea tacked on, something about television rotting the brain or something.

It isn’t that David Cronenberg hasn’t ever made a decent and thought-provoking film. He did, with “Dead Ringers.” But as a director he falls in the same class as Brian DePalma, who made the gripping “Casualties of War” and otherwise has done nothing but imitate Alfred Hitchcock until, finally, he got around to imitating himself.

James Woods runs a shabby television station in Toronto and one day his assistant picks up an illegal broadcast from Malaya. It shows nothing but torture porn. It strikes Wood that this could be a commercially successful idea. It’s kind of exciting to watch actresses being whipped and strangled.

So he investigates and the plot begins to thicken. The broadcasts are being routed through Maylaya but originate right here in Toronto. Then the plot gets clotted. The whole idea was dreamed up by a Dr. O’Blivion who only appears on television, never in real life, because in fact he died of a brain tumor that was induced by too much TV-watching. I swear I’m not making that up.

After that the plot decomposes completely and you can’t tell the hallucinations from the genuine events. That’s a splendid cinematic trick, by the way, if you’re looking for an excuse to have one fantastic and emetic thing happen after another. Woods shoots and kills one of Dr. O’Blivion’s agents on a public stage and the guy doesn’t simply die after receiving four or five bullets. He falls to the stage, his body splits open, his teeth pop out, an various sponge-like objects spring from cavities in his had and torso. Is this one of Woods’ hallucinations? Was it a real event? Who knows? Who cares? Not the normal members of the community in which this takes place, if it takes place at all. Hundreds of people have just watched a man shot and turned into a bloody sponge and nothing more is heard of it. You won’t care either, not if you enjoy the movie, because the whole point is the exercise of computer-generated effects. The murders are incidental.

I thought the film was a little disgusting in a literal sense but it seems a number of people thought it was an outstanding piece of entertainment, unless I hallucinated the rating here. You know something? I wonder if it ever occurred to Cronenberg that if our minds are so heavily influenced by what we watch on the screen, then this isn’t helping us grow up.

Other Information:

Original Language en
Runtime 1 hr 27 min (87 min), 1 hr 29 min (89 min) (uncut)
Budget 5952000
Revenue 2120439
Status Released
Rated R
Genre Horror, Sci-Fi, Thriller
Director David Cronenberg
Writer David Cronenberg
Actors James Woods, Debbie Harry, Sonja Smits
Country Canada
Awards 3 wins & 7 nominations
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono
Aspect Ratio 4:3 (pillarbox) (certain scenes), 1.85 : 1
Camera Hitachi SK-91 (monitor scenes), Panaflex Camera and Lenses by Panavision
Laboratory Film House, Toronto, Ontario, Canada
Film Length 2,231 m (Italy), 2,395 m (Sweden, cut version)
Negative Format Video (some scenes), 35 mm
Cinematographic Process Digital Intermediate (4K) (2022 remaster), Dolby Vision, Spherical
Printed Film Format 35 mm