Directed by:
David CronenbergScreenplay:
David CronenbergCinematography:
Mark IrwinComposer:
Howard ShoreCast:
Oliver Reed, Samantha Eggar, Art Hindle, Henry Beckman, Susan Hogan, Reiner Schwartz, John Ferguson, Nicholas Campbell, Felix Silla, Robert A. Silverman (more)VOD (4)
Plots(1)
Under the care of Psychologist Dr. Raglan, Nola Carveth is encouraged to outwardly manifest her anger over her painful divorce from her husband Frank. These manifestations take the form of dwarflike mutants who are born for the sole purpose of acting out Nola's violent fantasies of revenge. (official distributor synopsis)
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Reviews (10)
Quality psychological horror by Cronenberg that stands out by its incredibly disturbing atmosphere. The first half is pretty chatty, but right when I was telling myself that this wouldn’t warrant an above-average rating, the film fully caught my attention and the ending is extremely tense. I will remember all those scenes with the child mutants for a long time (they look pretty good), but the most important thing is that they have such an unpleasant evil aura around them that they irradiate uncompromising rawness and tangible malice. Another thing worth praise is the fantastically escalating tension by the end.
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Cronenberg elevates this rather childish horror premise of mutant dwarves capable of murdering their victims with almost anything beyond the prized genre average of the 1970s with intense psychological pressure and a smartly plotted screenplay. Unfortunately, as good as it is to watch even after all these years, and the enigmatic figure of the formidable Oliver Reed (why didn't this guy break into the world of big screen movies?! ) perfectly combines a violent, typically Cronenbergian plane with intimate conversational depth, today it's impossible to shake the dust of obsolescence off the story and ignore the fact that little thin-lipped children aren't scary and don't fill the audience's experience nearly as much as the oppressive atmosphere built by Cronenberg, Shore and the cast deserves. 70%
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Except for the finale, it's only a horror film at times (though it's in those moments that its intensity is massive). As I gradually become more familiar with Cronenberg's films, I am slowly beginning to see the "spiritual" in them, and I honestly prefer it to his favorite explicit nastiness, which perhaps some people find daring, untethered, original, and unconventional, but they are the reason I don’t enjoy Cronenberg that much). What I especially appreciate about The Brood is the thorough and impressive expertise (to write just "analysis" would be insufficient) of the originally pure mother who is separated from her child and must live in forced isolation and estrangement from her family. Remarkable, non-mainstream, distinctive, impressive.
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I was expecting monster horror and I got something completely different, but I haven't seen a horror movie with mutated goblins yet, so why not. David Cronenberg once again does a great job with the atmosphere especially in the final third, but this time he didn't satisfy me enough in the first half to make me cheer with excitement like I did in the second half, so I can't in good conscience give it 4*. Definitely Croneneberg's best horror film after The Fly and Shivers.
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This time Cronenberg fully subordinated his classical trademarks (gynecology, psychiatry, body deformation) to the effect of self-efficacy. As a means of doing so, he chose little men in winter overalls with hammers in their hands and lots of long-winded chatter. The suspense is solid only up to the first two visits of the hissing kids, then after the finale (typical gradation) there is once again plenty of verbal filler, which is not even helped out by an incorrect scene of a school class standing around a teacher lying in a pool of blood. But I’ll give it 3 ½ stars for the drops of icy sweat on my back.
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